Chilean director Sebastián Lelio’s films are about women who proudly dare to defy conventions. His 2013 film Gloria was about a 58 year-old divorcee who decides to seek love, fun and sex. Last year’s A fantastic woman featured a transgendered woman after the death of her partner. It won the Academy award for Best foreign language film. His new film is Disobedience, an Irish-British-American co-production set in the Orthodox Jewish community of London. Rachel Weisz serves as a producer and also plays Ronit, a New York photographer who goes back home when she learns that her estranged father, Rabbi Krushka, has died. Judging by everyone’s reactions, it seems that she was not expected to return, and some were probably hoping that she would stay away. Dovid (Alessandro Nivola), a Rabbi and her father’s spiritual son, is certainly surprised to see her since nobody, to his knowledge, had sent Ronit the news of her father’s passing. She feels that people are looking at her and judging her. Ronit wears none of the traditional Orthodox Jewish women’s clothing, like a sheitel (a wig that is worn to show modesty). It is clear that some women from the community don’t like her very much. That’s not the case with her old friend Esti (London, Ontario native Rachel McAdams), who is now married to Dovid. The three were friends and they still are, but that does not mean they are not awkward around her. And then we learn that Ronit and Esti were lovers in their youth. Now they fall in each other’s arms again. And when they are seen kissing in public, it puts Esti in an even more awkward position, but that scandal may also liberates her. Maybe she doesn’t want to stop loving Ronit. The most stunning thing about this amazing film is its originality. During Ronit and Esti’s passionate love-making, Ronit drips saliva into Esti’s mouth. There is brilliance in the casting of Weisz, McAdams and Nivola. But it’s McAdams that shines here. It’s an assured performance. She never been as good or as beautiful as she is here. Matthew Herbert orchestral score may be some of the most peculiarly effective music for film. It is hesitant and doesn’t spell out everything neatly for us, it comes in waves and breeze, both sudden and subtle, melodic and atonal, in crescendos and decrescendos. Like this film and Lelio, it marvelously defies conventions.
Based on the novel by Naomi Alderman