Everyone dates their parents, says Freud and also gay people online thirsting over actresses twice their age. Our most formative relationships play out again and again through friends, through lovers, through teachers, through employers, even through therapists. But these repetitions are not always so obvious. Screenwriter Rebecca Lenkiewicz’s directorial debut Hot Milk, based on Deborah Levy’s novel of the same name, understands the complex ways parental relationships can seep into the rest of our lives.
Hot Milk is about a young British woman named Sofia (Emma Mackey) who accompanies her mother Rose (Fiona Shaw) to the Spanish coast in an attempt to cure Rose’s mysterious illness. A perpetual student with a focus on anthropology, Sofia’s life is in limbo, her true focus on her difficult mother’s well-being. As Rose begins to work with her new doctor (Vincent Perez), Sofia wanders the Spanish beaches and meets a Berlin transplant named Ingrid (Vicky Krieps).
From the beginning, Ingrid provides further concern for Sofia as much as she provides escape. It’s a relief to watch Sofia create a distance from her mother and seek out her own life and own pleasure, but Ingrid has flags redder than Sofia’s jellyfish sting. She’s immediately controlling, emotional, and overly affectionate. She also seems to be in a relationship with a man named Matty (Yann Gael) who may or may not be aware that Ingrid has sexual pursuits elsewhere.
On the surface, Ingrid and Rose have little in common. Rose is scared of the world while Ingrid seems to hunger for it. One can even imagine Sofia looking at Ingrid and seeing her as the complete opposite of her mother. Alas, two people don’t need to share surface similarities to treat someone the same way. And the closer Sofia gets to Ingrid, the more their twisted dynamic resembles the one she’s trying to escape with Rose.
The acting in this film is remarkable. Shaw, Krieps, and Patsy Ferran in a small role as Rose’s nurse are all excellent. But it’s Mackey who holds the film together. She was great throughout all four seasons of Sex Education and this film is proof that wasn’t just the magic of Maeve Wiley. With the right roles, Mackey could establish herself as one of the best young actresses working today. Unfortunately, the film does not quite match her performance.
Lenkiewicz’s directorial work is strong with an effective controlled style, a tight pace, and a clear ability to garner great acting. If anything the writer of queer films such as Disobedience and Colette, should’ve trusted her direction more. The script is overwritten, stating things bluntly that have already been communicated — and communicated better — in the silences. Every extended dialogue scene felt stuffed with confused exposition that weakened the characters rather than deepening them.
The film will resonate with anyone who has ever tried to solve their mommy issues in the bed of another woman. But it’s frustrating how often the film ignores its strengths, instead ending up an overwrought series of clichés. And yet, there are sequences — single glances from Mackey even — that still make it worth a watch. I just wish Lenkiewicz had trusted her images over her words. Sometimes the sharpest writing happens in the gaps.
Hot Milk is now in theatres.
