A Garota de Miller

A more complex movie than it first appears, the acting from the entire cast was outstanding. At times I found the characters actually made me feel uncomfortable on their behalf and it took me a while to realise that this is exactly what was intended. The entire movie is a study of the emotional struggle of crossing boundaries and this required an impressive intensity from both Ortega and Freeman. In exactly the same vein, Miller's wife, played by Dagmara Dominczyk, was a masterclass in how to develop a character from superficial attractiveness into gin-soaked malignance - an outstanding performance.

I've no doubt that some will find the movie "slow" and "meandering", but if you are prepared to invest in it, the cast will repay you with a moving (and slightly terrifying!) emotional journey that will stay with you for a long time. A feat which few works can manage.

I had high hopes. From the trailer it looked interesting and aesthetically pleasing but I was very wrong. Unfortunately by the end of the movie I was left feeling frustrated because, the main thing about this movie - the tension, it was non existent.

There was no chemistry between the main protagonists. Zero. And Martin's heavy breathing in Jenna's face was very uncomfortable to watch...

Jenna on the other hand... Oh God, where do I even start?? She was so stiff the whole time it was seriously hard to watch. I don't know when this movie was filmed, but she seems stuck in her "Wednesday" role. Yes, her character is supposed to be strong, opinionated, witty, charming, seductive... But she fails to deliver any of it! She doesn't seem like clever teenage girl suddenly shaken and intrigued by an unexpected new variable in her life, at times she kinda looks bored. Her narrating was good though. But like I mentioned, the main point of the movie, the taboo of the desire and magnetism between main characters, is absolutely lacking. It's almost cringe and uncomfortable watching their scenes of "passion and attraction"...

To sum it up - good idea, poorly executed. Shame.

A poetic cinematic experience that follows Cairo Sweet, a student fond of literature, looking for experiences to write for a writing assignment, and her teacher Jonathan Miller, in a story full of blurry lines.

The social commentary in Miller's Girl is accomplished in a tasteful gothic dreamlike style with a script that gives just enough information to let the audience fill in the blank spaces.

The film's greatest asset is depicting desire as something that has to be realized yet deludes its owner every time its reach is closer to fulfillment, making the situation ambiguously complex. This is rendered brilliantly throughout the film, especially in the dialogues the protagonist has with herself. An open door that lets us in in the melancholic naivety of what it means to be young and flawed in a world that values perfection above all, yet it is found nowhere, and that crave for independence from inherited beliefs, and the natural thrill and anxious ache for the unknown and uncharted territories.

18 year old Cairo Sweet (Jenna Ortega) lives alone in a mansion while her parents are away somewhere. Her new married creative writing teacher Jonathan Miller (Martin Freeman) takes an interest in her and she returns the interest with obsession. When he rejects her pornographic writing, all hell breaks loose.

This movie oscillates between aggressively written and aggressively overwritten. It is trying so hard to be edgy. Jenna Ortega is oozing her lines out. I almost appreciate how hard it is running with scissors. At the end of the day, I am more annoyed with it than appreciate it. It doesn't help that the movie stops short. There is another fifteen minutes or more to go.

Honestly, this film isn't good or bad. It's meant to portray an important message to young adults and adolescents but in possibly the worse way possible and creating an abundance of controversy. Behind the obvious salacious context of the situation, it's a layered story about the characters trying to achieve emancipation through their affairs but failing to acknowledge a boundary between people, whether in power or any given scenario it can lead to detrimental consequences. Because, casting a boundary is knowing the risk being took. Other than the horrible lesson portraying I loved cinematography, felt very subtle and eerie, but still and calm. They emphasized that with all the lamps in every room possible. I live in Tennessee myself, and I come to look at it through a different perspective thanks to the euphoric atmosphere of this film. In its own way. Moving from that moment and addressing the big 50/50 question is I don't think Cairo is the villain. She's just a young human who fell for the wrong heart. Humans make mistakes and greater lessons sprout from that, as in the ending scene she was shown to forgive Miller and also grow significantly as a young adult. The lesson in the film is important for any young adult struggling with accountability. Social boundaries, self reflection. Other than that the dialogue was actually hysterical I felt like I was reading a novel by Fitzgerald because no one talks like that in their day to day life the dialogue is like their reading a screenplay. But I guess it all just emphasizes the culture of the film, it being adapted from a play of course. The accents were horrible though in my defense, I understand it takes place in Tennessee but the accents were too inconsistent and dry. Should have been left out but other than the the acting was simply flawless, enough to get me through and mesmerized in some scenes.