Malcolm & Marie – Film Review

Cast: Zendaya and John David Washington

Director: Sam Levinson

Synopsis: Following the premiere of his film, a filmmaker and his girlfriend talk about their relationship, their careers, and the life they share together…

Review: The power of film and its ability to creating lasting impressions on us all is something that has perhaps come into sharp focus by the ongoing COVID-19 pandemic. For as long as our cinemas have remained closed, there’s been a desire for all of us who love this art form to be reminded of just why we adore this art form. Irrespective of whether someone works in the industry, or if they are a critic, or just someone who has a passion for watching films, there’s no getting away from one simple fact. Namely, everyone will have their own unique experience about said film, which can in turn influence their opinion on any particular film. The power of film and its ability to leave a lasting impression on not just the viewer but on the creators themselves, which can in turn influence their own relationships, is a powerful and resonating sentiment that beats at the heart of this latest film from Euphoria creator Sam Levinson.

Malcolm (Washington) is a filmmaker who’s just had his film premiere, to much critical acclaim. After a successful evening in the spotlight in the company of his actors, film critics and other people in the industry, accompanied by his girlfriend Marie (Zendaya), the couple come home to celebrate. However, throughout the course of the evening, something has been gnawing away at Marie and having kept it to her herself throughout the course of the evening, she cannot stay silent about it any more. Over the course of what is meant to be a celebratory night, a discussion about the evening’s events descend into a heated argument between the two of them, and the sparks begin to fly as they squabble about numerous topics from films, filmmaking, to film criticism, all framed from the perspective of where they are in their lives at this moment in time, and the state of their relationship.

With production of the film having taken place in the summer of 2020, during the COVID-19 pandemic lockdown, the film’s production was all understandably, fairly minimal. However, this does not prevent writer/director Levinson from crafting a very compelling piece of filmmaking, which is in many ways an autobiographical look at Levinson’s own journey through Hollywood. With it all taking place in one luxurious house seemingly in the middle of nowhere, the stripped back setting and production values could have been a hindrance, since the film is relying on the strength of the screenplay/dialogue, and the performances of the two cast members, and Levinson’s direction. The screenplay has a lot to say about the industry, and while it does have some interesting observations to make, there’s an heir of self-indulgency when it comes to certain aspects. thanks to the performances of his actors, and the gorgeous black and white cinematography from Marcell Rév is gorgeous to look at.

As they are the only actors in the film, everything is on the shoulders of both Zendaya and John David Washington to make the film work. Given the immense talents of both actors, it is no surprise that both give absolutely electric performances. The chemistry that they share leaps off the screen, and the range of emotions that shines through in both their performances is extraordinary. It’s clear that these two people do love each other, yet despite that love, there’s something boiling away inside both of them that is seemingly holding them back. Yet despite that, each time these two actors engage in a verbal bout of topics like the film industry, critics and reviewers, and how society engages with these industries, you just cannot take your eyes off the screen as these two trade verbal blows, putting each other through an intense emotional wringer.

The film is almost guaranteed to ruffle some feathers from those who work in the industry, and especially for those in the film critic circles. Similarly, the self-indulgent nature of his script, and the obvious nods to Levinson’s own career, may well put some people off. While both these actors are some of the finest of their generation, as well as usually being likeable presences on screen, the same cannot be said for their characters here. There is an heir of sympathy for Marie, and some of the plight that her character has endured, but even with that in mind, it is difficult to imagine wanting to have people like this in your personal/professional life. Yet that doesn’t prevent either actor from giving a tour-de-force performance in a film that is going to generate lots of discussion in the industry in the coming months.