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TIFF 2022: Emily, Causeway, The Eternal Daughter | Festivals & Awards

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20220925 152844

Real biographical information Wuthering Heights Writer Emily Bronte is known to be a bit of a rarity. Much of what has been written about her comes from the point of view of her sister and fellow writer Charlotte, author of a book Jane Air. Unsure of Emily’s true nature, writer/director Frances O’Connor injects her history with pure guesswork in her chaotic first feature film called “EmilyStarring Emma Mackie in the title role.

In principle, this ambiguous literary form is not necessarily bad. Unfortunately, O’Connor’s execution is. While there was some flames under Maki’s sullen expression, it seemed like a lot of her direction was to make her eyes as wide as possible and always keep her mouth in a gloomy frown. Even worse, O’Connor cements Emily’s artistic adulthood into a rote romance with a wonderful coordinator who also teaches her in French. Sure, we’re in the age of “insert a historical figure here from f*cks” style of storytelling, but we’re playing more like fan fiction here, especially when compared to the depths of human emotion that Emily’s great works reach.

Along with her saddlebag with a really ordinary top that tears up a bad romance, O’Connor throws both Charlotte, and especially Anne, with bathwater. Every chance the movie gets, Charlotte gets artistically – and at times romantic – up against her sister. While Anne relegated it to about three or four scenes, Bronte is forever forgotten. (Side note: Read her novel Agnes Gray If you ever get the chance.) Their brother Branwell does a lot better, and that’s probably the most you’ll see in a movie about the Bronte family. O’Connor seems to suggest incest themes found in Wuthering Heights It may have a family root.

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O’Connor’s debut is certainly ambitious, but with images cut from countless films set for a better time period, Abel Korzeniowski’s arrogant score, and an outdated way of pitting women against each other, I couldn’t help but think Emily’s legacy deserves better than this.

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In continuation of this theme comes the long-delayed first feature film by director Leila Neugebauer.bridge,’ which is a comeback for star Jennifer Lawrence, who cut her teeth in similarly intimate character studies as ‘Winter’s Bone.’ While the script, which features three credited writers (Otessa Moshfegh, Luke Goebel, and Elizabeth Sanders), sometimes seems a bit flimsy. However, the drama operates mostly due to strong performances from Lawrence, Linda Emond and Brian Tyree Henry (who has long established himself as one of the best actors of his generation)

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