Maya Dardel

An attractive, middle aged writer at the end of her life advertises for young male writers to compete to be heir and executor of her estate. The intriguing Maya Dardel is an art-film setup almost too precious for its own good. Because the titular writer (Lena Olin) is both brilliant and accomplished, we are expected to eat every word for the wisdom of age and genius.

Au contraire, the wise words are frequently lost among the tests she gives the applicants for her fortune. If there is anything profound about her plotting with neighbor, Leonara (Roseanna Arquette), and the cunnilingus Maya demands from the young men, I missed it in my fog of adoration for the well-aged star and her game with the boys. For certain, this challenging drama can be a figurative screed against men who dare to ignore older women.

Along the way are some bon mots about writing, mostly about the salutary effect of self criticism and the passage of time. The film does its best depicting the artist's aging gifts and her need to preserve her estate and writing legacies. Although her means of preservation are closer to bizarre than eccentric, the effect is the same: Her motives are mixed and occasionally wicked.

Largely because she tortures the men in such a way that misanthropy becomes a relevant motif, it is wrong to go into the film anticipating a feminism that welcomes men in a celebration of an accomplished life. Even her constant critical thinking is a weapon against the boy-men.

Lina Olin couldn't play a more dangerous intellectual, a predatory artist bent on emasculation and dominance rather than loving inclusion. Actually, her predations are a welcome counterbalance to the current obsession with Harvey Weinstein crimes. While Maya is no lawbreaking harasser, she is nonetheless lethal. All hail equality!

The doggy-style fornication is very creepy, with Maya shrieking laughing and mocking during the act. Nothing sensual about it. The violence at the end of the movie is risible.

This film is for poets, an exercise in vagueness. Like what is Moses talking about while looking outside the window? For one who likes clarity, this film is not for me. I do not see the narrative flow, maybe it is not meant to be.

It is truly one of the best films to come out recently. It isn't even that hard to understand but I guess good things are always misunderstood at first. The main thing is the writing. It is really first rate. The visuals are good too, but the writing is on another level. I think the dialogue is like a woven piece of cloth. The main character played awesomely by Olin talks about her mind this way, like it used to be an "eleven-dimensional dulcimer" and that's how I feel about the writing in this film. It's a wonderful dulcimer of a movie.

A highly unusual film worth your time for its originality alone. The dialog is first class. Its highly intelligent with some deep insights into aging with the weighty knowledge that one's best years are behind them. This is countered by the examples of youth with their enthusiasm for the future and perhaps ignorance that none of it may come to pass. Such is the stages of life.

The poetry is genuine. Strong. Real merit. The cinematography beautifully done and the direction assured. The music too, by one of the directors I believe, also flawlessly complements the style.

The lead is strong, complex, ironical, paradoxical, controversial. Liking her or not is irrelevant. She's a superbly imagined flawed character.

My only criticisms is that the exchanges are sometimes hard to decipher and I really did want to hear every word. There's a lot of wisdom within. Patrica Arquette's character is sadly a misstep. She seems false. Aside from that, it's so refreshing to find a film that doesn't assume everyone watching is stupid. (Though judging from the rating perhaps they were wrong).

I would watch this again. To take in all those lush shots, every crisp word and that incredible central performance. Its a true testament to the creativity of the filmmakers. A remarkable achievement.

Maya Dardel (A Critically Endangered Species) is directed and written by Zachary Cotler and Magdalena Zyzak. The film's protagonist is played by Lena Olin. Lena Olin, film veteran who was discovered by Ingmar Bergman, proved that she is still capable of captivating the audience with a brilliant lead performance. She plays the protagonist who is an aging poetess and the film's success owes her a great deal. Patrick Scola's lens exquisitely depicts her living in California's mountains among beautiful misty landscapes, in a house surrounded by half-withered plants. All this creates a special atmosphere in the film.

Maya Dardel is a rather original picture because it explores another side of sexual relationships – usually men are described as dominant and the role of prostitutes is relegated to women. However in this film, the authors show how young and promising poets can easily become involved in a kind of prostitution hoping to get this woman's inheritance. Their intentions are more clear than Maya's; we can only guess whether she is going through a crisis, is really desperate because she is lonely or maybe is just testing how low young men can fall in their pursuit of money. We see how corrupt are these people who are supposed to be be spiritual and above simple earthly pursuits. In this sense Maya Dardel perfectly reflects the soullessness of our materialistic society.

Interestingly enough, that one of the directors, Zachary Cotler, is an award winning poet himself and has also composed the minimalistic piano driven musical score of the film. Maya Dardel combines elements of drama, comedy, satire and even romantic comedy. The film is not for every taste as it's contemplative pace may put some viewers off who are used to more conventional movies. However, it is a bold, inventive film featuring a great performance of Lena Olin and is among the finest American independent pictures of today.

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