sábado, septiembre 24, 2022
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Candy movie review & film summary (2022)

Deeply dissatisfied with the suburban boredom of the early 80s, Candy and Betty don’t realize how much they have in common. First, they both have husbands who don’t touch their wives enough. Candy’s husband Pat (Timothy Simons, of Veep fame) is a nice enough guy who practically ignores her when she tries to get close. She is increasingly drawn to romance novels and is inspired by a friend’s second chance at happiness after a divorce to find a new spark in her life. Basically, she decides to have an affair in the same way that some people make a grocery list. This is one more thing she needs to do in her life. And the easiest target is one of her circle of friends, Allan Gore (Pablo Schreiber), Betty’s husband.

Maybe Betty was worse than Candy from the start. Allan is a distant husband who either travels or ignores her at home. And when she adopts a child with severe anger issues, Allan doesn’t really jump in to help. The always magnificent Schreiber deftly portrays a man who is not so much evil as harmless, a man who doesn’t realize he’s taking his wife for granted until it’s too late. And the stellar Lynskey expresses the overwhelming depression of the suburbs in a way that doesn’t seem cliché. She does so much with just a sigh or a defeated body language. There is an interesting parallel in this story of Veit and Antoska, in which Betty sees the new baby in their house as a way to make her life more interesting, while Candy chooses infidelity to revive her boredom.

As for Biel, she’s really excelled in terms of performance over the past few years, doing the best work of her career on the excellent Sinner and proving here that it wasn’t a fluke. She fills Candy with a nervous energy that makes it look like this woman’s perfect house of cards was about to collapse at some point. The way Candy treats her romance as something else on a housewife’s to-do list is just adorable. Gather groceries, pick up the kids, have sex with your friend’s husband. She’s even better in post-murder scenes; she makes her breathing more shallow, repeats phrases, nods her head unnaturally – she has the air of a woman who knows that the days before she is caught are getting shorter. This is a fantastic performance. «Candy» is worth watching just because of the quartet of performers. (And I liked the sort of meta-thing about picking the cops who end up doing an investigation that doesn’t feel like it’s public, so I won’t spoil it.)

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