” arrives fully formed in its bite, with a balance of fluorescent stylistic edge and broad emotional accessibility that should turn the heads of larger arthouse distributors.
Working from Kalnejais’ own stage play, she and Murphy build up this domestic crisis into a volatile, stakes-shifting battle of wills and wants, in which all parties are a little more like each other than they care to admit. It’s a sparking, short-circuiting family dynamic quite brilliantly performed by the film’s gutsy, well-matched quartet of thesps.
Any secondary characters — a pregnant neighbor drawn to Henry, a music teacher who remembers Anna’s gentler days — have a slightly script-workshopped flatness to them; “Babyteeth” works best as an abrasive four-hander, though Murphy’s limber, sensually electric direction leaves the film with little clear evidence of its theatrical origins.
Via Andrew Commis’ glowing, fluidly color-changing cinematography — saturated by turns in the chlorinated turquoise of backyard swimming pools or the musky orange of skin illuminated by a bedside light — and a diverse soundtrack pulsating with modern soul, electro and, when required, weepy classical strings, Murphy deftly flips switches between the world as it is and the world as Milla wants it to be, toward a wholly naturalistic beachside coda in which all affectations are shed to wrenching...
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