A cat, a turtle, an iron. Pigs. Kisses. Screams. Silence. Madeline’s Madeline deals with the animalistic impulses of bodies and the slippery manipulation of minds. With her third feature film, director Josephine Decker cements herself as an irreplaceable voice in contemporary independent filmmaking, moving beyond the frameworks imposed by age, gender and genre, actively using the audience as a character and tightening her grip on what we perceive to be true, what we know to be good, with dizzying results.
Art is considered somewhat metatextually, as the narrative crux renders a drama class in which gifted student Madeline (newcomer Helena Howard) is pushed to the limits of performance, by harnessing her personal strengths and weaknesses to abandon herself and wholly give life to her characters.
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