[Editor’s note: The following article contains major spoilers for the ending of “Men.”]
Alex Garland knows the one thing audiences will definitely be talking about as they stumble out of his new film “Men” is the ending. This symbol-laden and occasionally very unsubtle meditation on male toxicity and gaslighting has roots in surrealism as Harper (Jessie Buckley) takes an inevitably ill-conceived solo holiday in the English countryside to recover from the sudden, violent death of her husband James (Pappa Essediu), who plunged off the roof of their London apartment complex before her eyes.
Throughout Harper’s stay at this sprawling house, she’s tormented by a barrage of men, all played by Rory Kinnear: first, the daffy groundskeeper Geoffrey, then a lurching naked man who emerges from the woods, then later a gaslighting vicar, a handsy barfly, and even, at one point, a nasty little boy whose face is superimposed with Kinnear’s own.
But in the film’s final moments, the...
Alex Garland knows the one thing audiences will definitely be talking about as they stumble out of his new film “Men” is the ending. This symbol-laden and occasionally very unsubtle meditation on male toxicity and gaslighting has roots in surrealism as Harper (Jessie Buckley) takes an inevitably ill-conceived solo holiday in the English countryside to recover from the sudden, violent death of her husband James (Pappa Essediu), who plunged off the roof of their London apartment complex before her eyes.
Throughout Harper’s stay at this sprawling house, she’s tormented by a barrage of men, all played by Rory Kinnear: first, the daffy groundskeeper Geoffrey, then a lurching naked man who emerges from the woods, then later a gaslighting vicar, a handsy barfly, and even, at one point, a nasty little boy whose face is superimposed with Kinnear’s own.
But in the film’s final moments, the...
- 5/21/2022
- by Ryan Lattanzio
- Indiewire
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