Rising Star: Mia Wasikowska

Park Chan-Wook’s long-awaited English-language film debut is a wondrous mixture of oddity, tasteful madness and gothic beauty. There isn’t a single sane, well-grounded or normal character here, and it’s that volatile family dynamic that lights the fuse and keeps the tension simmering throughout.

India’s (Wasikowska) life is turned upside down when news of her father’s sudden tragic accidental death hits home. Her mother Evelyn (Kidman) is an emotional wreck, only comforted by the mysterious appearance of Charles (Goode), the charming, clean-cut younger brother of her deceased husband. Faced with an illusive uncle she never thought she had, India keeps her distance, (as she often does with everyone – at school, at home), and keeps a close eye on this man who seems too good to be true. And of course, the creepy smiles, the odd looks, the hazy past, the good manners all suggest something is off and it isn’t long before anyone who appears to know more than they let on starts disappearing; most notably housekeeper Mrs. Garnish (Phyllis Somerville) who is startled by his return, and Aunt Gin (Weaver in a brief but sporadically funny turn), who becomes too inquisitive and potentially helpful to India.

What develops is an uncomfortable, unsettling incestuous love triangle between the three main characters that constantly keeps everyone on edge. His immediate effect on the grieving widow is an obvious one: as evidenced by Kidman’s spot-on transition from the withdrawn and depressed, (no-one can do this better than the pale, slender, blood-shot-eyed Kidman) to the more lively and enthusiastic. As Evelyn begins to catch onto Charlie’s motives and starts to see India as a potential competitor, the cold, icy, steely-eyed side kicks in, again, something Kidman truly dominates.

It’s also remarkable to see Goode finally landing a role he can shine in, as his previous leading efforts have been duds (Leap Year, Brideshead Revisited). Here is a performance of such unique peculiarity and fascination that he brings out much aura of ambiguity in his villainous character. He casually glides through and seduces his way into Evelyn and India’s world, almost hypnotising those around him (including one highly erotically chargedpiano duet).

To further enhance the mystery element, director Park goes all out in creating such a vivid yet constantly haunting series of images and scenery, mounting one gothic set-piece after another. The many references to classic fairy-tale stories here are clearly made, although these aren’t the ones you traditionally hear about – instead with Wentworth Miller’s twisted script and Park’s masterful direction successfully putting even darker turns into the narrative. His cameras linger back and forth cleverly, positioning itself to focus on all the right key moments, which give rise to some shockingly gruesome moments.

Placed at the centre of it all is Wasikowska, who has the most challenging role yet of her career, as the girl coming of age, becoming a fully-grown woman, ready to step away from her childhood confinement to take matters into her own hands. Her maturation process is essentially what the film is all about – as a social outcast she sees things others can’t, and hears things others cannot – and with this eccentric, almost supernatural quirk, Wasikowska plays around her character, ultimately blossoming into an unlikely heroine with questionable morality.

All this, backed by some superb music composition that perfectly conveys the sinister mood, is why Parker is without a doubt one of the best films of this year so far – we’re only still in March of 2013, but this will be one that lingers in your mind in the most uncomfortable, disturbing way possible – which is precisely what Park’s films (Sympathy for Mr. Vengeance, Oldboy, Sympathy for Lady Vengeance) are all really aiming for.