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An atmospheric tale of toxic masculinity in Tudor England from writer Laura Turner and director Philip Stevens.

A distant encampment by the beach somewhere in Tudor England, and toxic masculinity is rampant among the men and women of this beautiful island. Lapwing is Philip Stevens’ first film set on the Laura Turner screenplay, and its themes of domination, gas lighting, and gender-neutral psychological abuse could apply to any location or location. what moment.

At the center of it all is Emmett J Scanlan’s David, a sharp-eyed, knife-wielding trust trickster who has set up a ploy to secure the passage of those seeking to flee the country. As they wait for a boat to arrive (will it ever be?), The mute Patience (Hannah Douglas) connects with a beefy but tender Egyptian wanderer named Rumi (Sebastian de Souza), and when David hears of their union, well, he sends it into a foaming rampage.

While the film is shamelessly violent, its female protagonists have enough agency and guts to bring some surprising twists to the brew. The power David wields over his followers is convincingly expressed through a salad of shouted words of suspicion and false equivalence, even if the dialogue, with its constant effing and blinding, at times seems too anachronistic and modern.

Visually and dramatically, the film doesn’t reinvent any wheels, nor does it offer itself, rather happy to assemble period drama of satisfying intensity with beautiful genre moments.

Reference of the Article-post – lwlies