The opening shot is that of a butterfly. Later shots show how a caterpillar becomes that particular insect, even the process of that creature emerging from a chrysalis. It portends the theme, director Todd Haynes, is trying to convey, that of transformation and to a lesser degree that of breaking free. The film focuses on Elizabeth Berry, played by Natalie Portman (Jackie and Black Swan), an actress who comes to Savannah, Georgia, in order to study a woman whom she will portray in an upcoming production. As an actress, her job is to transform, not unlike a caterpillar does when emerging as a butterfly.
The screenplay by Samy Burch takes its inspiration from the real-life case of Mary Kay Letourneau, the woman who pleaded guilty in 1997 to two counts of second-degree rape of a child. Letourneau was a 34-year-old teacher in Washington state who initiated sex with her sixth-grade student who was only 12. Her convictions were undeniable because she became impregnated twice. She was released from prison in 2004. She became a registered, sex offender. However, in 2005, Letourneau married Vili Fualaau, the 12-year-old boy she raped. Fualaau had turned 21 by that point. The two divorced in 2019. Fualaau claimed not to be a victim, even though he attempted suicide in 1999. In 2020, it was reported that Fualaau realized his relationship with Letourneau was unhealthy, but he was with her when she died.
Julianne Moore (The Hunger Games: Mockingjay - Part 1 and Hannibal) plays Gracie Atherton-Yoo, the equivalent to Mary Kay Letourneau. One difference is that Gracie isn't a teacher. She works as a freelance cake-maker, but, at the time of her crime, she worked at a pet shop. Another difference is that Gracie had more than two children with her victim. Gracie doesn't see herself as a sex offender. She has no shame or any guilt about it. In fact, she lives her life as if nothing is wrong or ever was wrong. It's pointed out that she's living in a bubble, a bubble that her inner circle won't or perhaps can't burst.
As an actress, Elizabeth's goal is not to burst that bubble either but to understand perhaps what caused the bubble or at least what it's like to live in that bubble. Yes, she's an actress, but the structure of the film has Elizabeth almost as a detective or a news reporter going around interviewing people in Gracie's inner circle, trying to put together the puzzle pieces. One of those people is Gracie's ex-husband. He says he doesn't know how or why Gracie could basically become a pedophile, which is essentially the conclusion of this film.
With any story, be it true-crime or otherwise, the hope is to understand why. This film suggests a pathway to explain how or why Gracie could become a child molester. Those suggestions or following that pathway isn't really the most weighted concern, even though that undercurrent is present and possibly strong. Instead of understanding a pedophile or groomer, this film is about understanding an actress' process. Some of the best scenes involve Elizabeth engaging in that process, either talking about it or just doing it. Haynes utilizes a lot of long, one takes, which is a technique to underline and enhance acting performances. A monologue Portman delivers toward the end is itself a kind of masterclass in acting. There's also a motif Haynes embraces involving mirrors. Plenty of scenes have the characters looking into mirrors. Haynes has them staring directly into the camera lens as the so-called mirror. There is the motif of how people see themselves or even how other people see them. This is of course an element of acting.
Charles Melton (Bad Boys for Life and The Sun Is Also a Star) co-stars as Joe Yoo, the equivalent to Vili Fualaau. Except, Joe comes from a half-Korean background. He worked at the same pet shop as Gracie when he was a young teenager, which shows his obvious interest in animals. It's him who has the hobby of collecting butterflies, a kind of novice entomologist. He now works at a medical clinic, which shows he's not dumb, but he does suffer from a kind of arrested development or child-like naivete.
He's supposed to be a father and husband, the veritable man of the house. Yet, in so many ways, he's still a little boy. There's a moment on the roof when Joe's eldest son, Charlie, played by Gabriel Chung, feels more mature than him. It could even be argued that Joe is the caterpillar needing to emerge from the chrysalis, the chrysalis metaphorically being his immaturity or that so-called arrested development.
Rated R for some sexual content, graphic nudity, drug use and language.
Running Time: 1 hr. and 57 mins.
Available on Netflix.
