ELYSE | FILM REVIEW
Dir: Stella Hopkins (12A, 93 mins)
Plodding avant-garde monochrome drama that remains self-indulgent throughout. Lisa Pepper stars as the title character in a psychological drama that makes little to no sense, her mood swinging from somnambulant to violent overacting – mostly as some jazzy saxaphone or tinkly piano music plays. She’s an adrift artist, supposedly talented but with a history of mental health problems and a son. Her husband (Aaron Tucker) is concerned about her, her mother (a bizarre turn from a Southern-twanged Fran Tucker) is caustic and there’s a nanny and her daughter who end up having significance (Julieta Ortiz and Tara Arroyave). Antony Hopkins cameos in a few scenes as a therapist, adding some intrigue despite the awful dialogue he is given.
The film changes from black and white with flashes of red, a la Schindler’s List, to colour halfway through, as Elyse is discovered in hospital in a catatonic state following a breakdown. Electro-convulsive therapy is prescribed as Anthony Appel’s nurse takes an interest in her, gradually bringing her back to some semblance of life. The reason for her breakdown is finally revealed in an over-the-top histrionic denouement.
Often unintentionally funny, this may have originally been intended as a Lynchian drama but falls way short. Hopkins is head and shoulders above everyone else involved, to the extent that it’s a relief when he is onscreen amidst other, more amateur theatrics, some scenes almost like The Room in their misjudged intensity. Written and directed by Hopkins’ wife Stella, with Antony on producing and composing duties, this unfortunately seems very much like a vanity project: it may have worked as a short film, but at 90 minutes feels laboured, unfocused and unfortunately unengaging. Hopkins is always gloriously watchable but even he has trouble elevating this leaden drama.
Out now via digital platforms
words KEIRON SELF