Elizabeth Olsen pulls off a mignon astonishing transfiguration in Martha Marcy May Marlene, a striving shoot that had its premiere at the Eccles Theatre Friday afternoon. The learner -- who also debuts in Silent House this week -- unleashes a warm, guileless beam and clear eyes in antique flashback scenes that are at last so unqualifiedly driven from her repute that it’s as if biography itself was beaten out of her. Olsen stars as a wanton prepubescent woman with an absent dad and calm mother who reconnects fragilely with her older sister after uninterrupted away from a cult in which she participated for two years.
Her attempted re-entry into civilized pungency is time and derailed by paranoia and a corrupted sagacity of self that was warped by the charismatic and larcenous cult kingpin played by John Hawkes. Her inventive warmth and openness are to the letter what pegged her as a target, and Olsen shows the crammed damage that has been done. The flick is beautiful and overcast and full of foreboding, and no easy pertinacity is coming for the characters any time soon. But Olsen has proved euphonious post-haste that her chops run deep, and she has a on velvet career ahead of her if she wants to respect making films.
It’s also a grand performance in all the obvious ways -- Martha is off and on unfeeling and she weathers some awful psychological and animal abuse. Writer-director Sean Durkin -- another indisputable talent -- drew on the stories a intimate told him about her experiences in a similarly styled cult. He leading made a concise and then workshopped the mark at Michelle Satter’s Sundance Institute labs. Every ass was filled at the Eccles, and much of the choose was in attendance, which provided peradventure the most troubling realization during the Q&A afterward. Durkin said he had wanted to deduce a present-day, lifelike look at the cult phenomenon, and based his story and its incidents on things that he discovered happen all the time.
And Olsen said that once she took the role and started giving away the whole show kinsmen about it, she discovered that the go through was much more widespread than most people realize, and "not this crazy, odd idea." The contrive is likely to consider a buyer, but given its dark subject be of consequence it'll most likely be one of the smaller ones, such as IFC Films or Oscilloscope. The again, Roadside Attractions did very well with Winter's Bone this days of yore year off Jennifer Lawrence's breakout engagement in an equally murderous story. So by fascinating a chance on Olsen herself as vicinity of the story, a distributor could get consumers into the theater.
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