Directed by:
Todd HaynesScreenplay:
Phyllis NagyCinematography:
Edward LachmanComposer:
Carter BurwellCast:
Cate Blanchett, Rooney Mara, Kyle Chandler, Jake Lacy, Sarah Paulson, Cory Michael Smith, Carrie Brownstein, John Magaro, Ken Strunk (more)VOD (1)
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Set in 1950s New York, CAROL tells the story of Therese Belivet (Rooney Mara), a young woman in her 20s working as a clerk in a department store who meets Carol (Cate Blanchett), an alluring woman trapped in a loveless, convenient marriage. While Carol breaks free from the confines of marriage, her husband (Kyle Chandler) begins to question her competence as a mother as her involvement with Therese and close relationship with her best friend Abby (Sarah Paulson) come to light. (Entertainment One)
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Reviews (6)
I can't help but feel that this film is critically praised simply because it's well-directed, looks nice, and it's about two women loving each other, presented naturally. I was bored. To me, the movie felt utterly devoid of substance. The drama is portrayed incredibly straightforwardly, with a lot of shortcuts that distort the progression... This does not deserve more than an average rating.
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Carol is a movie that’s based solely on the acting performances of Cate Blanchett and Rooney Mara. They both act exactly the way they need to. Cate is beautiful, dominant and exactly knows what she wants. Rooney is beautiful, quiet and her there’s a battle going on in her heart. But if it weren’t for one faint mention of the Czech Republic, there wouldn’t really be any significant reason for me to listen to the dialogues.
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Carol has beautiful cinematography and music, but the story of the central couple is terribly BORING, both psychologically and sexually. Like watching a sunset through a perfectly polished plastic bag. I had to suffer through it on the super uncomfortable wooden seats in Prague’s Municipal House (opening of a film festival).
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This film about hidden feelings peculiarly chooses an aesthetic based on a precise yet tottering outward exterior. However, the seemingly mediocre and stiff shots are agitated to the point of resembling the work of Wong Kar-wai, offering us a rare and fragile glimpse into the characters’ inner selves as they let their minds dreamily drift to where they want to be despite their noisy surroundings. It’s too easy to dismiss Carol as just another standard romantic film about love against all odds. Todd Haynes and his collaborators created a flawless depiction of the lacerating tension that arises when the characters cannot express their feelings, mainly because of the period and its prejudices, but also simply because of their surroundings, the direction of their lives and their own caution and fears. Carol thus becomes a romantic drama built on reserved appearances and masks, which the film presents to viewers just as the characters present them to each other. Behind every seemingly indifferent gaze there is a silent longing and a troubling uncertainty, which is all the more powerful when its broken by fleeting glances and touches. Because of that, the dramaturgy plays an essential role in the narrative, as it emphasises the duration of those key moments when the couple can share a moment together in that hostile world.
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Strong acting, masterfully directed and written, but for me it falls into the category of predictable queer drama with everything that it encompasses, including very stenciled emotions. A model American melodrama that deservedly receives acting awards, but at the same time a film that ends only with realization bravado. Cold, forgetful, over-cultivated - at least that's how it felt to me during this year's Cannes competition.
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