In making a film about conceptual art, it would only make sense for the film itself to be conceptual as well. And so, writer-director Josephine Decker delves shockingly deep into the fractured mind of Madeline (a phenomenal Helena Howard in her debut role), a troubled high schooler who’s decided to take part in an experimental theater project headed by Evangeline (Molly Parker). The project begins to go off-kilter as Evangeline asks Madeline to go deeper and deeper into her character, forcing the young girl to confront her mental health demons, and the result is something far from catharsis. This spells bad news for Madeline’s mother, Regina (Miranda July), who is always catching the brunt of Madeline’s more violent mood swings, and worries what the project will ultimately lead her daughter to.

The film’s direction, which immerses the audience in many claustrophobic close-ups and off-kilter focusing, can leave you exhausted. The degree to which this tact visually details Madeline’s psyche versus producing obtuse avant-garde posturing can vary from scene to scene. It’s frenetic editing (by Decker and Harrison Atkins) will actively keep you guessing as to what is actually happening at any given moment. The film is grounded by its terrific three lead performances, with Howard’s Madeline and her two maternal figures – one that wishes to tame her wild urges and the other who indulges it without realizing the consequences. Madeline’s Madeline is a searing, unique, occasionally very funny film about the healing nature of art, but also about just how unsubstantial that healing can sometimes be.

 

Directed by Josephine Decker