Bring Denis Villeneuve back to Canada! Maelstrom is an early effort from the director who brought us Incendies (2010) and Arrival (2016), and a surprisingly strong one. This is from a director who's been hit and miss for me; Polytechnique and Sicario were overly dry, while Enemy was enormously derivative.
Maelstrom is obviously a film with a unique vision, told by a dying fish. We have an abortion, which will enrage some of the audience, but playing Good Morning Starshine next as she leaves sets a humourous, ironic tone.
Much of this tone prevails; while I was expecting something darker like Incendies, a colourful, unique tone runs throughout Maelstrom. After learning she accidentally kills a man with a vehicle, she confides in a stranger who tells her what's done is done; later, the son of the man falls in love with her, and in a quirk of fate, he confides in the same stranger who tells her what's done is done. Maelstrom is the kind of movie that's more than a movie; it's an experience like no other.
Maelstrom is obviously a film with a unique vision, told by a dying fish. We have an abortion, which will enrage some of the audience, but playing Good Morning Starshine next as she leaves sets a humourous, ironic tone.
Much of this tone prevails; while I was expecting something darker like Incendies, a colourful, unique tone runs throughout Maelstrom. After learning she accidentally kills a man with a vehicle, she confides in a stranger who tells her what's done is done; later, the son of the man falls in love with her, and in a quirk of fate, he confides in the same stranger who tells her what's done is done. Maelstrom is the kind of movie that's more than a movie; it's an experience like no other.