I left this movie stunned and stilled. Katie Jarvis' expressionless voyage through her 15th year soaked my entire attention into her character's being until I was her. A masterful performance of reserve and barely suppressed anger, frustration and awe permeate Jarvis' every move. While the character does unforgivable things at times, she is never who she seems to be on the surface. One can't help but pull for Mia and empathize with her inherent goodness, masquerading as it is under a steely, cold demeanour.
Jarvis' extraordinary performance wouldn't make a whit of impact without a director's equally reserved yet insightful work. Arnold never forces the issue, save for a little bit of symbolic overindulgence near the end, letting the characters play out the story.
Jarvis isn't alone in her excellence. Michael Fassbinder is a wonder, a smooth talking machismo machine who never over exerts but provides the right nuance at the right moment. Kierston Wareing is equally as effective, raw yet vulnerable, but like her daughters you would never know it by her words alone.
Arnold is one of the few modern directors who does not employ gimmicks. Music is one of the most offending of all directing crutches. This director avoids incidental music except when it actually occurs as part of the story. In one scene in particular, crossing fields all you can hear are the rustling of the leaves and the weeds, much like Antonioni did with "Blow-Up". Without distracting synthesisers or orchestras, the scene has all the terror of the moment.
This is a rare movie of substance and grit. It sinks under your skin and won't let you go. It never overplays its hand and keeps you involved. Arnold, Fassbender and Jarvis weave a hypnotic tale that in most cases would alienate and aggravate. It takes real artistry to transform such a gritty tale into a work of art of subtly and reserve. Fassbender is fast becoming a star. It won't take longer for Jarvis to follow, should she want it bad enough. As for Arnold, I'm looking forward to her next work more than any other.
Jarvis' extraordinary performance wouldn't make a whit of impact without a director's equally reserved yet insightful work. Arnold never forces the issue, save for a little bit of symbolic overindulgence near the end, letting the characters play out the story.
Jarvis isn't alone in her excellence. Michael Fassbinder is a wonder, a smooth talking machismo machine who never over exerts but provides the right nuance at the right moment. Kierston Wareing is equally as effective, raw yet vulnerable, but like her daughters you would never know it by her words alone.
Arnold is one of the few modern directors who does not employ gimmicks. Music is one of the most offending of all directing crutches. This director avoids incidental music except when it actually occurs as part of the story. In one scene in particular, crossing fields all you can hear are the rustling of the leaves and the weeds, much like Antonioni did with "Blow-Up". Without distracting synthesisers or orchestras, the scene has all the terror of the moment.
This is a rare movie of substance and grit. It sinks under your skin and won't let you go. It never overplays its hand and keeps you involved. Arnold, Fassbender and Jarvis weave a hypnotic tale that in most cases would alienate and aggravate. It takes real artistry to transform such a gritty tale into a work of art of subtly and reserve. Fassbender is fast becoming a star. It won't take longer for Jarvis to follow, should she want it bad enough. As for Arnold, I'm looking forward to her next work more than any other.