I finally saw Sean Durkin’s Sundance standout MARTHA MARCY MAY MARLENE, and I too found it absolutely deserving of the awards and accolades it has recently garnered. It’s a wonderfully compelling flashback narrative, the likes of which we really haven’t seen since SHINE, wherein the dramatic tension comes from the audience discovering the past and watching its inevitable collide with the present. But even more interesting than that, the film is lean and beautiful in its simplicity, specifically in the way in which it’s covered, or filmed from different angles.
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