The Nest review – Jude Law flies home in a rousing dream of neoliberal fever | Movie

IIt’s a ghost story? A tale of family dysfunction? Or perhaps a fever dream of the turbulent birth of 1980s neoliberalism, and the special relationship between greed and goodness? Or is this grotesque, attention-grabbing movie adaptation of a ’70s and ’80s novel that we’ve all somehow forgotten: something by Iris Murdoch, or perhaps Pierce Bull Reed? The director of Nest is film director Sean Dworkin, his first since the intriguing movie Quasi-Manson cult drama Martha Marcy Mae Marilyn From 2011, however much it sounds like an adaptation, this is an original script of its own — and very original.

The venue was in the mid-1980s, with news of President Reagan on the radio and everyone smoking inside, and the story begins in the suburban home of Rory O’Hara in upstate New York, a British expat playing his part. Good Low. He made a fortune as a commodities trader in Manhattan and one morning told his American wife Alison (Carrie Coon), daughter Sam (Ona Roach), and young son Ben (Charlie Shotwell) that he had accepted a job offer from his country. Old boss in the city of London. Restless, mercurial, quick-talking, Rory clearly has Yen to triumphantly return to his ancient land, and perhaps cautiously reconnect with his glowing widowed mother – a wonderfully powerful cameo from Anne Reed.

And so the bewildered family leaves the sunny United States for rainy old Britain, where Rory rents a huge, dark 18th-century mansion in Surrey with its first editions, paneled walls and secret corridors, which he excitedly tells them is the temporary home of Led Zeppelin as they work on an album. He encourages Allison to pursue her interest in horses here and takes Ben to the nearest posh school where he has to put on a uniform with not-so-great cropped pants while the vulgar and rebellious Sam goes to the local comprehensive school. But it soon becomes clear that Rory’s job isn’t going well, Alison is angry and depressed, Sam takes drugs, and Ben wets the bed. And there are very unpleasant ghostly things going on in this ridiculous stately house, symptoms of mental anguish that Alison’s horse also feels.

Nobody actually calls this house a nest, and it’s hard to imagine a home less like a nest: uncomfortable, uncomfortable, unwelcome and unhappy – or perhaps the point is that nests are just like that, in the wild. Surely, there is something quite strange about the simple transplant of this happy, prosperous American family full of corn in a damp and majestic shrine, the kind of place poor, dissatisfied Rory needed to convince himself that he got it right, commuting every day and drinking. Consider beer on the train.

Jude Law and Carrie Coon in The Nest
She wears ’80s references lightly… Jude Law and Carrie Coon at The Nest

While Rory is in the office, making a raucous lunch or going to Arsenal matches with his old teammate Steve (Adil Akhtar), spending recklessly on anticipating a big deal, Allison and the kids are back in this creepy old mansion, unsure why the dealers aren’t getting paid and bounce back. checks. She wonders: Are they actually so poor? And the creature who feels all this in a series of surreal and shockingly unpleasant sequences is Alison Richmond’s horse, whose burial scene is one of the most disturbing I’ve seen this year. You watch the idyllic Anglo-American family teeter on the brink of emotional bankruptcy.

This movie deviates from the rating. It’s a photo of 80 groups wearing their temporal positions and musical references lightly. It’s a city dealer movie where the main villain doesn’t coke. And it’s a scary movie in which supernatural pauses occur almost casually, a sideshow of emotional breakdown.

The Nest opens August 27 in cinemas.

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