Blonde ★★

2022 Ranking 

Sat awhile afterwards to mull and have to say…nothing really, beyond it just leaving me cold entirely. All I could feel was indifference, and for all the tricks in its visual playbook, hitting the same repetitious notes in exploring Marilyn/Norma just felt so empty. The only points it verged on engaging me were the direct recreations. De Armas is luminous in those bits. Nothing more beyond that point really worked for me though.

I don’t feel like saying more at this point but I do think as a counterpoint - and I’m sure more informed and intelligent people have said and will elaborate on this - it’s gotten me thinking about Todd Haynes’ Superstar: The Karen Carpenter Story and why that worked for me in what it does and this doesn’t.

Edit: On a more positive note, the Cave/Ellis score is outstanding, and interesting that this year we also got another (imo, my vastly preferred) Dominik film in This Much I Know to be True .

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