Perhaps the best news for Olivia Wilde – perhaps the only good news – is that finally your movie don’t worry darling is out. This may be the end of the series of catastrophic misadventures that surrounded the film from its shooting until Monday, the day of its world premiere, out of competition, at the Venice Film Festival. A main actress who avoids talking about the feature film; a performer who has been replaced by a pop star (Harry Styles) who is now the filmmaker’s new partner; suspicions of inappropriate on-set behavior, the release of private videos, and more personal and creative strokes of effect… so much so that the story surrounding the film could well be a Thriller in French. even better What don’t worry darling. Because the screening at the Mostra didn’t make Wilde too happy either. He received mixed applause. And a little more. A shocking contrast to the noise that the works had generated. His story adds so many chapters that it is convenient to go in order. Beginning at the end.
Because even during its press conference in Venice today, the film suffered another shock. The day before we knew that its main interpreter, Florence Pugh, would not appear in front of the microphones. The official reason alludes to the schedule, the collision with the filming of the second part of Dunes. And it’s true that the actress walked the red carpet before the gala performance in the evening. But the decision extends his silence on the film. During this time, in the absence of their version, all the others speak.
“Florence is a force. We are grateful that you can be here tonight and that we can celebrate together. It was an honor to have him as a leader. As for all the gossip, the internet feeds on that, it’s pretty well fed and I’m not going to contribute to it,” Wilde cut off the inevitable question about the elephant in the room in the morning. Or rather, absent from it. The question mark mentioned fights with Pugh. But this part has been ignored. And the worst suffered the following question, about the the film’s original male protagonist, Shia LaBeouf: “It has already been answered with the reference to the Internet.
It is true that the network is full of material to investigate the matter. On August 24, Wilde hinted at Variety who eliminated the actor due to his behavior: “His process did not align with the ethos that I demand […] Creating a safe environment is the best way to get people to do good work. And my ultimate responsibility is to the production and the cast, to protect them. But the performer contacted the same magazine. And he bounced several emails exchanged with the director to offer another truth. “You and I know the reasons for my departure. I left your movie because your actors and I don’t have time to rehearse,” LaBeouf wrote in one. Additionally, he shared a video Wilde allegedly sent him that he then finished on line. On the recording, the filmmaker said she was confident LaBeouf and Pugh could “reconcile” and that she was not “ready to give up” on the matter just yet. The nickname of “Miss Flo” and the ironic tone with which the director evoked the actress did not however contribute to loosen the climate.
Once LaBeouf is gone — who, to profit from the gossip, goes to the festival, present Father Pio, by Abel Ferrara—, the role goes to Styles. A few weeks later, Wilde announced another key decision: the end of her nine-year relationship with actor Jason Sudeikis. a few months have passed and the ex-divo of One Direction, now an equally adored soloist by the public, he begins to be photographed hand in hand with the director. The couple’s appearances continued to the point of assuming their official status. And an army of young people stood on the pageant’s red carpet from the first hour, ready to wait hours just to see the singer for a moment and envy the director. “Musician and actor are opposite professions from several points of view. But in neither, you never know where you’re going,” Styles said.
Last April, the film also veered to another unexpected destination. And he crosses paths with real life again: while Wilde presenteda don’t worry darling From one scene, someone approached to hand him an envelope. The headmistress opened it and found custody papers for her two children with Sudeikis. The actor denied knowing his lawyers’ particular plan, but the filmmaker made it clear he didn’t believe him.
Nothing so conflicting could have happened in don’t worry darling. Or, at least, in its infancy. Because the film tells the wonderful life of Alice and Jack. And residents of the idyllic community of Victory. They work. They take care of the house and prepare the dinner that their husbands will enjoy. And all together, they feed the utopia led by the charismatic guru Frank. Until Alice starts asking the occasional question. And, little by little, it brings to urbanization the only thing that is forbidden: dissent. And, finally, chaos.
“We like films which are Trojan horses, which entertain, but generate a debate, a provocation. Disruptions are fundamental to our society,” Wilde said. Although his work is only half-on-target. With echoes of the truman show and the recent series Separation, don’t worry darling can be seen as a metaphor for the oppression of patriarchy and the capitalist system. It also offers a parable on the feminist awakening and its revolutionary power. And an answer, if needed, to anyone wondering why it takes half the world that cinema has always silenced to be able to film their stories.
The problem is that the feature has been so insistent, and for so long, on building its climax, that many’ attention will give up on it before. The end goal is intuitive, so the important thing would be knowing how to get there: however, there are hardly any detours out of the schematics. At least, yes, the ending manages to tinge the epic with female empowerment. “I want women to feel their voice is heard, to feel inspired by the protagonist,” said the filmmaker. And these days, he ironically pointed out that no man experiences an orgasm in his film. However, he had to cut an oral sex sequence for the trailer’s protagonist to prevent access to the film from ending up being restricted in the United States for certain audiences. The umpteenth blow to the film. To wonder if it’s the last.
In the other film of the day, there is barely a female voice. Although he is the only lucid one. because none of the men The Banshees of Inisherin, by Martin McDonagh — who has already triumphed in Venice with Three billboards outside—, seems able to handle the conflict that arises at startup. On the other hand, a whole lesson of cinema and synthesis: Pádraic approaches the window of a house. “Colm, are we going to the pub?” he deduces. But the other, inside, doesn’t even flinch. “It’s two o’clock,” insists the first. No answer. The spectator, on the other hand, has already understood everything: a lifelong friendship has just been broken.
The work catches, envelops, despite the fact that sometimes the script seems more interested in being brilliant than exciting. In the spectacular and remote landscapes of an Irish island, the characters of Colin Farrell and Brendan Gleeson speak of toxic masculinity, of those who do not know how to express themselves and those who accept to be emotional; but also of civil war, intellectual arrogance and the search for meaning in life. Grand, transcendent, like music. Or much simpler: just be nice.
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