Elisabeth Moss

Odessa Young

Michael Stuhlbarg

Logan Lerman

Victoria Pedretti

Robert Wuhl

Paul O'Brien

Orlagh Cassidy

Bisserat Tseggai

Allen McCullough

Tony Manna

Molly Fahey

Edward O'Blenis

Ryan Spahn

Emily Decker

Alex Sherman

Ava Langford

Thomas Racek

Lexa Hayes

Adelind Horan

Steve Vinovich

Miranda July

Adrianne Davis

Ashley Foy

Mark Sean Haynes

Chris White

Kerry Barden

Josephine Decker

Sue Naegle

Paul Schnee

Jeffrey Soros

Allison Rose Carter

David Hinojosa

Sarah Gubbins

Simon Horsman

Christine Vachon

Kat Hess

Alisa Tager

Amela Bakšić

David Barker

Tamar-kali

Cherilyn Hawrysh

Lauren Mikus

Sue Chan

Martin Scorsese

Sturla Brandth Grøvlen

Bruce Gilbert

Susan Scarf Merrell

Leslie Shatz

Dennis Bailey

Erica Pearce

Alexander Linde

Rachel Toledo

Roland Trafton

Jenn Blum

Missy Scarbrough

Doria Riker

Kirby Feagan

Carter Stanislaw

Tim Bruno

Laura Klein

Amy Teitter

Lisa Montalvo

Deana Leblanc

Nancy Allen

Amanda Miller

Michael Aitken

Nat Jencks

Greta Stokes

Heidi K. Eklund

Aly Migliori

Kara Branch

Tom Flynn

Katie Friedman

Crystal Lentz

BrittanyRose LaFemina

Gaddiel Lopez

Rachel Cole

Gil Litver

Noah Chamis

Nneka Bennett

Bethany Itterly

Laura Merians Goncalves

Dylan Goodwin

Kristin Catuogno

Andrew Lim

Devon Catucci

Jennifer Ruffalo

Michele-Nanette Miller

Stephanie Levin

Thomas W. Cameron III

Lucien Harriot

Joey Montenarello

Pam DeMetruis-Thomas

Dan Bricker

Jennifer Lamb

Olivia West Lloyd

Rachel Goldman

Mark DeSimone

Jon Read

Emma Hannaway

Bohdan Bushell

Natasha Faye

Deidrea Hamid

Jason Bernett

Natalie Eakin

Tyler Foltz

Rolan Shlain

Johnny Woj

Edward W. Hardy

Drama

Thriller

Mystery

Shirley

Killer Films

Los Angeles Media Fund

United States of America

Manuel São Bento

If you enjoy reading my Spoiler-Free reviews, please follow my blog @
https://www.msbreviews.com

This was a pretty unusual experience due to the knowledge I possessed before watching this movie. It's the first flick I see from Josephine Decker. Sarah Gubbins has her feature film debut as a screenwriter, so obviously, she's new to me as well. However, the most significant detail is that I didn't know a single thing about Shirley. I had no idea about its plot or even what genre did it belong to, and (like with every other movie) I didn't watch a single trailer. Elisabeth Moss (The Handmaid's Tale, The Invisible Man) was the only reason I added this film to my list a few months ago.

I had no idea Shirley was an actual biopic of the real-life horror writer, Shirley Jackson, not even by the end of the movie... and this is the biggest compliment I have to give. It doesn't feel like a biopic because it breaks every barrier set by the genre's limitations. It isn't filmed (DP: Sturla Brandth Grøvlen) like a biopic. It isn't edited (David Barker) like a biopic. Its screenplay isn't similar to one of a biopic. Even the score (Tamar-kali) is far from being a biopic standard. Conclusion: by going blind into this film, it's near impossible to label Shirley as a regular biopic.

How is this a good thing? Well, from the very first scene, the uneasy atmosphere is exceptionally established through Odessa Young's character, Rose Nemser. The latter seems like any other 1950's "wifey", but in her first appearance, she shows that her true self is hiding beneath the well-behaved, well-educated persona. It's hard not to feel enthralled by the weird, intriguing, sometimes creepy interactions between the four main characters. The rough editing helps generate a certain level of discomfort like something doesn't feel quite right. Shirley and Rose's relationship contributes to the strange vibe that permeates the movie.

Shirley is isolated from society and refuses to go outside. Her books are filled with disgusting, thought-provoking, horrific stories that people love to read. But these are the same people who assume how she must be like in order to be able to write such twisted stories. Rose has more in common with Shirley than what their personal book covers may indicate, and these two carry the narrative in a quite captivating, emotional manner. The former is the central character, the one that goes through the biggest development. The latter doesn't change who she is, but gradually shows a different, more vulnerable side, as the (brilliant) last shot of the film (one long uninterrupted take) proves.

Elisabeth Moss was already in contention for several nominations due to her outstanding performance in her previous movie, but with Shirley, she makes sure she doesn't go unnoticed in 2020. Moss has such an incredible range of emotions and expressions that make her shine every time a multi-layered character is handed to her. However, Odessa Young is the surprise here, what a breakthrough! Excellent performance from her, definitely one to keep our eyes on for the next few years. Michael Stuhlbarg is phenomenal by interpreting Stanley, a man who can be sweet and kind as easy as he can be threatening and scary.

It's a film that warrants more than one viewing. Not only due to the perplexing narrative that mixes up Shirley's imagination (there are constant flashes of her visualizing what she's writing) with the real-life story, but also because the characters' relationships are not that simple to understand. All of this can either be looked at as a positive or negative aspect. On one hand, I was always interested and focused on understanding everything related to the story and its characters. On the other hand, the movie can feel aimless during the first half of the runtime.

Undoubtedly very intriguing filmmaking. Josephine Decker delivers an auteur piece (for which she already received an award) that might polarize the general audience due to her remarkably unique biographical work. However, for someone who didn't know anything about the film going in, that first half that I mention above can be really difficult to analyze. Eventually, everything receives their respective explanation, some more efficient than others, but the path to get there isn't linear or smooth in any way, shape, or form.

Also, Logan Lerman's character, Fred Nemser, feels left out compared to the other house residents, and his arc is probably the most predictable and least exciting part of the movie. Technically, each component is as unique as each other. From the editing to the cinematography, passing through the score and the production and set design. Everything elevates Sarah Gubbins' screenplay and Decker's directing in a way that never stops being entertaining and extremely satisfactory for any cinephile.

In the end, Shirley is undoubtedly an auteur film from Josephine Decker, who delivers a remarkably unique biopic that breaks every limitation imposed by the genre. By going in blind, Sarah Gubbins' screenplay may feel strange and aimless throughout the first half, but the intriguing relationships between the main characters and the weirdly captivating narrative are more than enough to create a creepy yet engaging atmosphere. The interactions between Elisabeth Moss, Odessa Young, and Michael Stuhlbarg are as fascinating as their characters, especially Odessa's. All actors are terrific, but Moss guarantees that she doesn't go unnoticed this year, and Young will certainly be in talks for the year's breakthrough performance. Technically, the score is definitely a whole other character, incredibly impactful sound design. On one hand, the shaky cinematography and the rough editing help create the uneasy environment of the house, but on the other hand, they might feel a bit too disorienting and uncomfortable. It's hard to recommend this movie. If you're a fan of Shirley Jackson, this is her biopic, even if it doesn't look like one (the greatest compliment I can give the film). If you value technical aspects, Shirley has a lot to love. However, if you don't belong to one of these two groups, I can't recommend it without first offering a warning that it just might not work for you...

Rating: B+

SWITCH.

My expectations for 'Shirley' were probably as high as for any film this year, and those expectations were well-invested. Josephine Decker has delivered a film far better than any biopic could have been. Not only does it celebrate everything incredible about Shirley Jackson's work, it amplifies our understanding of it and why it continues to haunt us, whisper to us, send shivers down the back of our necks. 'Shirley' is an unsettling portrait of the existential and primal horror of the suburban prison women are forced into, guarded by monstrous men demanding they play by the rules and willing to discard and destroy when their use is past or they have sucked them dry of everything they need for them, a prison where madness is not just damnation but possible liberation. It is pure Shirley Jackson and yet entirely a work of its own, with its own unique power and voice. 'Shirley' is one of the best films of the year so far, and one that you'll feel watching you just beyond your periphery long after it is over.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-shirley-a-hypnotic-dreamscape-of-one-of-the-greatest-writers-of-all-time

Shirley is a fictionalized psychological drama inspired by the life of author Shirley Jackson, blurring fact and fiction in a way that may misrepresent the real figures involved. Despite historical inaccuracies and concerns from Jackson’s family, the film stands out for its strong performances and intense character portrayals. The ambiguous ending invites viewers to interpret the story on their own, reflecting the film's deeper themes of creativity, identity, and madness.

Read the full review here: (Indonesian version : alunauwie.com)