4 stars out of 5
Go for Rachel Weisz and Rachel McAdams getting it on, stay for a complex, thoughtful tale of hidden love, lust, family, and faith. I’m not going to reveal much of the plot, as director Sebastián Lelio has done a masterful job of slowly parceling out key details until we finally have a full grasp of what’s really happening. As a result, the film’s impact increases and increases over its running time.
We’re in a modern-day Orthodox Jewish community on the outskirts of London. Prodigal daughter Ronit (Weisz) has returned from New York after learning of the death of her father, the rabbi. But people aren’t exactly clicking their heels to see her, especially Dovid (Alessandro Nivola). Is he Ronit’s… brother? Former lover? Something else? Even this we wait to discover. More welcoming is Esti (McAdams), though we don’t initially know how she fits in either! And why are so many of them judgmental about Ronit? Why did she leave London in the first place? So many questions, but patience pays off.
Weisz is tremendous (not to mention gorgeous), brushing aside the catty comments of others, as she attempts to honor her dad. Nivola, who I thought was a newcomer but it turns out I’ve seen him in six other projects, is also terrific. He brings a Daniel Day-Lewis-esque quality to the role of the rabbi’s devoted student, beset by internal conflicts. McAdams, now, I love Rachel McAdams, I do I do I do, but first Emma Stone is cast as an Asian and now Rachel Freaking McAdams as an Orthodox woman? Oh when will we Jews finally get a foothold in Hollywood? Nevertheless, she turns in a quietly intense, quality performance.
Did I mention that McAdams gets jiggy with Weisz? Despite an ignored-by-the-script obvious 8-year age gap between the two actresses, the coupling is very well cast. The taller Weisz physically dominates the smaller McAdams. And the greater maturity in Weisz’s face, combined with her character’s bohemian photographer lifestyle as opposed to Esti’s buttoned-up elementary teacher, adds to this dynamic.
Those unfamiliar with Orthodox ways will be intrigued by the women’s wigs, separation of genders in the synagogue, rules about touching and intercourse, etc. And nice to see tallis and tefillin on-screen!
One major gripe: So we’re patiently waiting for some hot Rachel-on-Rachel action. The women visit the empty house of Ronit’s dad, she turns on a radio, changes the station, and the very first thing we hear out of Robert Smith’s mouth is, “You make me feel like I am home again. Whenever I’m alone with you…” And then “However far away, I will always love you.” Come on, Lelio! Show don’t sing! Coincidentally or not, the movie kind of loses the thread after the “big lesbian reveal” for the next 10 minutes or so, before a newly revealed piece of information puts the script back on track.
Ultimately, I liked the movie a lot. It asks us: What do we want to do in our lives? What are we expected to do by others? And what is the right thing to do? You won’t find all the answers in the Talmud.
Jack Silbert, curator