In the first ten minutes of relationshiplet’s get to know some stories. There is a couple whose rhythm has always been different, but who are happy together. His family is dominant and possessive. Your is practically nonexistent. One conversation is enough for the audience to understand the type of relationship they are having. A second conversation opens the curtain and reveals the type of family she is joining.
It’s a shrewd representation of the resources. We are immediately concerned with the possibility of ancestry: it is the basis of psychological thrillers that focus only on one character, making ambiguous shows of supernatural subjects and broken thoughts.
The problem in relationship has more to do with his sober approach. It’s a movie that feels unnecessarily harmless and has no intention of increasing its scope for malice. It doesn’t happen very often, but at some point I really wanted to film to just end.
Charlotte is happily married to Ben. They both come from different sides of society, but it hasn’t stopped them from being a lovely couple. Ben’s family is special. His mother Margaret is manipulative and powerful. His “brother” Thomas only lives to serve his mother.
In this uncomfortable plan, Charlotte and Ben decide to move to Australia, far from Ben’s family. Of course Margarete is freaking out. To make matters worse, Charlotte becomes pregnant. Margaret reacts again at her subtle intention to have an abortion.
How can you make matters worse? Tragedy strikes and Charlotte’s life is turned upside down. She is at the mercy of her husband’s family. The pregnancy must continue, and the intentions of this family don’t seem to be as kind as they seem.
The best element in relationshipThe plot is that it doesn’t try to go beyond the limits of naturalistic horror. There is nothing more sinister than what you see in Margaret’s behavior as a matriarch with a conservative agenda. Charlotte’s performance as a mother-to-be is unclear as the character seems to go back and forth between her need to escape and the need for a companion. This scene with the piano doesn’t help at all.
As the film progresses and its repetitive pattern plays out, we dig deeper into Thomas and Margaret’s plan. Gas lighting and captivity are two of her best ways to keep Charlotte in a hazy aura of necessary protection and security. relationshipThe horror phase isn’t very effective, but it feels relevant, at least up to a point.
More important than making good use of the genre is Margaret’s effect in Charlotte. Great dialogue will reveal the truth behind your reasoning. A monster doesn’t always have to look monstrous.
I just wanted to clear that up. Do not pay attention to the poster as this is not such a movie. It’s a troubling journey into the possibility of isolation at a time when you need constant support. In this lonely room, you only get glimpses of a terrible environment brought about by a relationship with an acquired family.
This is relationship, a boring film that only collects possibilities.