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| The Guardian - Culture: Film | | | | The empty feminism of Don't Worry Darling | | by Adrian Horton Sep 26, 2022 | | After all of the buzz, rumors and reports of conflict, Olivia Wilde’s slippery 50s-set thriller doesn’t really have much of anything to say For the pop culturally attuned, worrying about the film Don’t Worry Darling has become a weeks-long pastime, after a mess of a press tour that basically amounted to a whole TV season’s worth of water-cooler drama. The film, a psychological thriller starring Florence Pugh and little-known pop singer Harry Styles, finally arrived in theaters this weekend. Judgment day was kind – estimates have its debut weekend haul at $19.2m. Now that it’s out, we can do what the studio and director Olivia Wilde have encouraged us to do: judge the film by its own merits rather than real-world gossip (spoilers ahead). The problem is, it’s impossible to separate the film from its off-screen drama. The PR around Don’t Worry Darling and the film itself suffer from a similar issue: there’s a clear discrepancy between what we’re told is happening and what we actually see. A difference between official narrative and actual material, and in the case of the film – which Wilde has billed as a vehicle for female pleasure and a feminist thriller – a stark gap between visual achievement and cheap, empty narrative. Continue reading... | | | | | |
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