Plot: Madeline (Helena Howard) is part of an improv theater group, currently working on a production of Three Little Piggies under Evangeline’s (Molly Parker) direction. Madeline gets along very well with Evangeline and not so much with her own mother Regina (Miranda July). When she has a dream about hurting Regina, Madeline confides in Evangeline. Evangeline feels inspired by Madeline’s problems and starts using her life for the theater group, even roping in Regina.
Madeline’s Madeline was the only film I managed to see at the FrauenFilmTage this year, and then only a 9.30pm-on-a-weekday screening was possible for me. But I wanted to see the film so much, that I braved that screening anyway. And even though I regrettably fell asleep for some of it (not the film’s fault at all), I managed to see most of it and the parts I did see where absolutely fantastic.
Swede (Ewan McGregror) and Dawn (Jenniger Connelly) have pretty much the perfect 50s life: he is successful, she is beautiful and they married out of love, of course. Their daughter Merry finally completed their life, despite her stutter. But now Merry (Dakota Fanning) is a teenager and she’s rebelling against everything. Swede and Dawn find out just how much she’s rebelling when they’re confronted with the suspicion that Merry was involved in a bombing that ended fatally. Merry herself disappears and Dawn and Swede are left desperately trying to piece together what happened to her.
Given that American Pastoral was based on a Roth novel, I didn’t set my hopes for the film too high, but in a moment of weakness prompted by McGregor’s prettiness, I decided to watch it anyway. I shouldn’t have bothered.