Movie review

Movie review Netflix

Betting on a gray area between drama and psychological tension, A very happy girl fails because of its dramatic impotence as well as because of the promise of a dark turn that never quite comes true. The adaptation of the book of the same name by Jessica Knoll because Netflix misses the opportunity to bring sensitive and topical issues and only delivers a series of clichés followed by a simplistic conclusion.

Proof that a narrative of empowerment and overcoming of a slightly sinister female character is not enough to reproduce the success of Gone Girl (2014), a David Fincher film based on the work of Gillian Flynn, One Girl. .. late surfing on the wave of #MeToo, with no real commitment to dialogue with the difficult reality experienced by the protagonist.

In the skin of Ani FaNelli, Mila Kunis lives a woman who seems to have everything: the bridegroom (Finn Wittrock) from a wealthy and traditional family, the impeccable looks, the career rising to the position of his dreams, and the comfortable, elegant New York life he always desired. However, all this is not enough to make us forget the traumas of her past, which are gradually introduced into the plot in the form of flashbacks to her youth in the style of 13 Reasons Why. We’re presented with two versions of Ani: one in her actiondriven monologues — tormented, distant, and obsessed with success — and the other in her public persona, always knowing what to do and say to meet the expectations of everyone around her.

When Ani is approached by a documentary filmmaker interested in hearing about her as one of the few survivors of a deadly school shooting, Ani begins to question her silence about her own story. Embracing the disturbing memories of the episodes of her youth that shaped her fractured personality, the protagonist reveals the horrific abuse she endured in her youth and is forced to finally confront her most cruel assailant, who also witnessed the incident in survived the school.

Unfortunately, although it proposes to place the experience of overcoming a sexual violence survivor at the heart of the story, and reaching out to so many others who live under the same fear and stillness as Ani, the film slips by embracing a multitude of serious and urgent questions of our time without really being able to deal with them in depth. Arms control, social prejudice and bullying in schools are some of the issues raised, all related to the loneliness and helplessness of the victims who have no one to turn to.

There’s no way to deny the merit of any initiative that breaks the silence and denatures the ongoing violence that thwarts the lives of survivors like Kunis’ character, but it has to be acknowledged that Uma Garota de Very Lucky took this on a boring note and boring way does unoriginal, maybe irresponsible. Without delivering the longawaited twist that seems to have been heralded from the start, the feature seems to assume that Ani’s release from confrontation with her abuser is nothing more than a matter of resilience, ignoring the privileges the protagonist has in conquered her adult life and strengthening traditional perspectives of gender.

Despite Kunis’ commendable characterbuilding efforts, she loses herself between a semblance of coldness and a supposedly repressed sensitivity, both of which are portrayed so badly that they inhibit any principle of empathy. Wasting the potential of the atmosphere of suspense and fury introduced into the story by Dropper when the production performs well in the catalog only comes at the expense of a provocative subject matter, despite the fact that it is approached fatally poorly either through lack of courage or luck.

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A very happy girl

The happiest girl in the world

A very happy girl

The happiest girl in the world

Direction: Mike Barker

road map: Jessica Knoll

Pour: Mila Kunis