In the experimental montage that opens “Persona,” a bare-chested teenage boy caresses a screen upon which the faces of two women slowly morph back and forth. It’s easy to imagine Todd Haynes being …
), who was caught in a sexual relationship with a 7th grader at the age of 36. Can playing this Mary Kay Letourneau-like tabloid sensation really answer what makes such a woman tick?
As Gracie Atherton-Yoo, Moore plays a woman with a Teflon conscience who, even after more than two decades, is still deflecting public criticism. It didn’t help that there was a crappy TV movie made about the scandal at the time, which Haynes amusingly samples at one point. Now a grandmother , Gracie hopes that a new indie film will bring some nuance to her story — which doesn’t seem especially likely, if Netflix’s “The Staircase” and other examples are to be considered.
Haynes and screenwriter Samy Burch present that backstory in pieces, allowing audiences to form their first impressions of Gracie before discovering her crime. Tone is everything in movies like this, and Haynes goes out of his way to avoid the sensationalism that made “To Die For” or “Cry-Baby” so delectably campy.
“May December” operates on many levels at once, allowing audiences to speculate as to Gracie’s motivations even as we watch Elizabeth “become” her character. At night, she goes back to the local home she’s renting — “quaint,” by her description, posh by anyone else’s — and watches video auditions with the underage actors who could be her co-star, remarking that they’re “not sexy enough.
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