Lelio's approach helps us feel we are thrust into the middle of a very tight-knit community, with a long shared history. Weisz is Ronit, a young woman we see initially in New York: a photographer evidently living a fashionable and bohemian lifestyle. But he is not a tyrant or a bully and he is himself conflicted in various ways about Ronit’s reappearance. In literature, melodrama can come off as overblown, preachy. Dovid and his young rabbinical students discuss sensuous love and its importance, and Esti discusses "Othello" with her students. Disobedience is a nice example of a film that displays a forbidden but passionate love story from a fascinating point of view, the religious angle. He dials this back in "Disobedience." ‘Rachel Weisz, Rachel McAdams and Alessandro Nivola are at the top of their game’ ... Disobedience. "Disobedience," based on Naomi Alderman's novel (with adaptation by Lelio and Rebecca Lenkiewicz) is a good old-fashioned melodrama, albeit with a quieter touch. McAdams herself is excellent at suggesting how with sheer force of will and learned piety she had got her life together while Ronit was away and is now a schoolteacher. He speaks of angels, beasts, and Adam and Eve. The obituary for her father states that "sadly" he had no children. "Exposition" wouldn't be spoken out loud in this crowd since everyone knows everything about everyone else. She knows what the depths are, but she can't get there in the way a Lili Taylor, or Elizabeth Moss, or Natalie Portman could. These all feel like real people, not caricatures. But cinema can make melodrama seem not just real, but urgent and relevant. It stings. Exposition is always awkward, so Lelio doesn't bother with it at all. McAdams is miscast, but she does a fine job showing Esti's burgeoning emotional life, exploding out of her in a rush: it is as though time stopped for her when Ronit fled the community so many years ago. Disobedience works much better when the director lets McAdams and Weisz play their feelings out through soft glances and subtle touches. Toronto film festival 2017 Disobedience review – Rachel Weisz and Rachel McAdams impress in powerful love story The English language debut from Chilean director Sebastián Lelio is … he question of whose disobedience, and what kind of disobedience it is, are at the heart of this absorbing and moving love story from Chilean director Sebastián Lelio, his English language debut, following very quickly on the heels of his film A Fantastic Woman which has been a festival-circuit hit this year. Read her answers to our Movie Love Questionnaire here. (In this way, it reminded me a little bit of Peter Weir's "Witness," where you could see why Rachel didn't just run away with the cop, leaving the Amish world behind. There's something refreshing about a story so unconcerned with "subtlety." This is richly satisfying and powerfully acted work. This is Lelio's third film in a row about women (the first being 2013's "Gloria"), and he is deeply empathetic to the ways in which repressive societies put women in all kinds of impossible double- and triple-binds. Even the strict culture of Orthodox Judaism isn't really a villain. Dovid and Etsi don't yet have children. Underline as you go. The eloquence of the performances is key to the material succeeding, since Lelio does not introduce the characters, and their connections, in a straightforward way. Rather daringly, he is teaching the Song Of Songs in his own scriptural class and permitting candid discussion of its erotic qualities. The English language debut from Chilean director Sebastián Lelio is a rich and rewarding drama about a woman returning home to the Orthodox Jewish community of north London, Last modified on Fri 30 Nov 2018 10.00 EST. Ronit is a lost lamb, but there is still space for her in the fold. The colors of the film are subdued and chilly, all blacks, greys, smoky-blues, so that at times it looks like a black-and-white photograph. The choice of play interestingly leads the audience to wonder how Dovid is going to take the news of his wife’s adventure. In a 1950s film, she'd play a perky ingenue. This is playing with fire, since it soon becomes clear that Esti and Ronit had an adolescent romance, well-known to the community at the time. In a way, time stopped for the both of them. With all of the dramatic and sexual stuff in the film, the best scene may very well be a group scene early on, when Ronit joins Dovid and Esti's Shabbat, attended by a small group of Ronit's relatives. Out of the blue, she receives some bad news from back home, and Lelio shows that her first impulse is to try to anesthetise the pain with drink and casual sex. These were two women whose normal adolescent crush was banned. A lively debate occurs, and when Esti pops in unexpectedly with a cutting observation, Ronit stares at her from across the table, thrilled. The other is Esti, beautifully played by Rachel McAdams, who was Ronit’s only ally in youthful rebelliousness back in the day. But the scenes between Weisz and McAdams are fascinating, each actress listening closely to the other, paying attention to every nuance. But, in a way, that's refreshing too. But when she has to show Esti's anguish at being forced to marry in order to cure her of wanting to sleep with women, she can't get to the depths required. She's wonderful here when showing mischievous delight sneaking a puff off Ronit's cigarette. The question of whose disobedience, and what kind of disobedience it is, are at the heart of this absorbing and moving love story from Chilean director Sebastián Lelio, his English language debut, following very quickly on the heels of his film A Fantastic Woman which has been a festival-circuit hit this year. The "mood" at the table is far from friendly or warm, but it's also not toxic. Disobedience isn’t packed with surprises, but that’s not why you go to a movie like this. It was partly to escape the stifling rigidity of her father’s values that Ronit fled London for a secular life in New York in the first place: defiant, relishing freedom, but nursing a wound of guilt for breaking her father’s heart; she was an only child and he a widower. Ronit was all he had left. In the bedroom, before sex, Esti had listlessly removed not just her clothes but her wig: the badge of female piety. One is Dovid (Alessandro Nivola), her father’s favourite pupil, a virtual adopted son who is now a much admired young rabbi himself. These obvious choices really stick out. "A Fantastic Woman" featured many surreal dreamlike images, but Lelio plays this one straight. She's been gone so long she had no idea that Dovid (Alessandro Nivola), taken in by her father as a protégé at 13, and Esti, her childhood friend (Rachel McAdams) have gotten married. But McAdams is so inherently positive. The relationship between Ronit and Esti, past and present, is clearly the focal point of the film, but Lelio takes his time getting there. It takes some time before you figure out who Dovid is to Ronit, although from their behavior you can tell they once were close. It's beautiful, in a classical and formal way. The culture is shown as a close one, with many social benefits, benefits which Ronit—in leaving—has missed out on. The truth is that Ronit and Esti were more than friends - and it wasn’t just religion she was fleeing but forbidden love. Ronit is disturbed most by two friends from the old days, from whom she senses a nervous disapproval. Then he drops dead. Weisz conveys her grief, her disorientation, her borderline-hysterical need to mock the pieties. But Lelio’s drama is not simply about this, because it is clear that Esti is not in fact so estranged from Ronit as first appeared, and this homecoming triggers a new independence of mind in her that makes everyone very uneasy. Because she has learned of the death of her father, a much-respected rabbi: a fierce, potent cameo for Anton Lesser. Dovid and Esti invite Ronit to stay with them during her time in London. Sheila O'Malley received a BFA in Theatre from the University of Rhode Island and a Master's in Acting from the Actors Studio MFA Program. The drama takes place in the Orthodox Jewish community of north London. Dovid himself is a wiry, muscular warrior of the faith. Ronit's arrival throws everything into confusion.

disobedience movie review

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