The new film starring Anna Kendrick is one of the few visual narratives to deftly handle the insidious effects of an emotionally abusive relationship
f not guided by an ominous score and a remarkable lead performance of brittle, jittery anxiety, it might take you a third of, a new film starring Anna Kendrick as a woman in an emotionally abusive relationship, to realize something is wrong. Alice’s relationship with Simon , a thirtysomething Toronto-based artist with a suave British accent, could seem innocuous on a clue-by-clue basis.
Watching this accumulation of Alice’s distress reminded me, paradoxically, of the 2014 Rolling Stone article that hinged on theof a brutal, bloody gang rape at the University of Virginia. In an attempt to draw attention to campus sexual assault, the journalist sought the most dramatic narrative possible and unwittingly ended up with a fake one, pulled almost line for line from a television episode.
The Rolling Stone saga is an egregious example of the impulse for evidence through extremity ; 2014 was a thousand years ago in internet culture time, but most narratives of abuse or violation on-screen are still clearly rendered on the body. Shows and films which have grappled with psychological fallout and self-doubt, such as Michaela Coel’s I May Destroy You and HBO’s The Tale, have been rooted in clear-cut examples of sexual assault or abuse.
This makes the restraint of Alice, Darling all the more remarkable and revelatory – a case for the seriousness of coercive control, in and of itself. To be sure, Kendrick’s Alice suffers visible symptoms from the gnawing stress of her relationship with Simon. The stress of lying to him about seeing her friends, of whom he disapproves, causes her to vomit; the loss of an earring, further evidence of her “badness”, precipitates a viscerally performed, devastating panic attack.
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