Serena
Reuniting Jennifer Lawrence and Bradley Cooper, Susanne Bier's long-shelved period piece is a compellingly problematic anti-romance.
The Danish film-maker responsible for the challenging drama In a Better World, and who also gained a commercial track record with English-language movies such as Love is All You Need and Things We Lost in the Fire. Bier is an interesting person to take charge of this big emotional spectacle, set in depression-era America in the Great Smoky Mountains of Tennessee and North Carolina. It is clotted with its own atmosphere of tragic gloom and erotic doom.
The film crumples with a shower of sparks into a forest fire of melodramatic absurdity, with all kinds of violent lurches and plot entanglements. But not before Lawrence has given us a performance of fierce, bladed intensity.
An arrestingly nihilistic Depression melodrama, marked by courageous performances and exquisite production values, this story of a timber-industry power couple undone by financial and personal corruption nonetheless boasts neither a narrative impetus nor a perceptible objective.
The result is both problematic and fascinating, an unsympathetic spiral of human tragedy that plays a little like a hand-me-down folk ballad put to film.
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