Sam Levinson gives audiences a powerfully elegant look at two vulnerable people forced to confront each other about their relationship in this romantic drama.
A film director returns from his movie premiere in particularly high spirits and is excited to celebrate but his girlfriend doesn’t share his enthusiasm. Before long, the pair’s relationship is being tested and a power struggle surfaces.
We begin with a still scene at the exterior of the couple’s house before we see lights on the road and chaos ensues into the early hours of the morning. One thing to note is it’s all in black and white, evoking a timeless quality reminiscent of the Hollywood era.
“This is only the start of a larger debate about criticism, respect, and possession.”
The first scene is one long tracking shot as we follow Malcolm pacing around the room, dancing in celebration, and ranting in ecstasy about his film and the critics who will be writing their final thoughts with their “college education.” Marie lights a cigarette and smokes it in the doorway, reminding him that he also had a college education. She emanates lethargy as she sighs repeatedly.
Marie finally reveals she is upset Malcolm didn’t think to mention or thank her in his speech. She claims, “You spent your entire life catering to the feelings and the whims of literally everyone but me.” What ensues is a battle that has evidently been brewing for a long while as they begin to strip back all layers of the relationship until it’s raw and exposed. This is only the start of a larger debate about criticism, respect, and possession.
When the pandemic first emerged, the filming of Euphoria season two was cancelled but Zendaya and Levinson were adamant in continuing to create. This is how Malcolm & Marie came to being. With very little crew and only the two cast members, they filmed for 14 days in one location, focusing on one single time frame.
Using one location throughout the entirety of the narrative over one night created a sense of claustrophobia that could be felt through the screen by audience members as well as the characters. The way Levinson ensures the actors occupy and move about the space is intriguing and aids in moving the story forward so that the audience feels stuck but not so much that it bores.
“Her turns in mood are electric on screen, promoting terror in audiences as to what she may be capable of doing to herself or Malcolm.”
Long, arduous shots of the two actors are what make this film so emotionally strenuous. Neither of them miss a beat and not at any moment do we feel we have been pulled out of the story. It feels like we’re a fly on the wall; that we shouldn’t be hearing these intimate conversations but hanging on these long shots of the characters pulls us into the story even more. A notable scene includes the powerfully upsetting quote from Marie, “You’re so good at fighting. You fought to make the movie, to make it the way you wanted to make it. So why didn’t you fight for me?” The lingering shot on Zendaya is devastating.
The decision to only incorporate two characters was, albeit practical, but also brilliant. There is no intervention from any additional characters; no one to diffuse the situation or exploit it. It also allows audiences to learn more about these two characters and their veracious feelings towards each other.
Zendaya gives a stellar performance as a reformed drug addict, exuding a fiery persona to mask the character’s timidness. Her turns in mood are electric on screen, promoting terror in audiences as to what she may be capable of doing to herself or Malcolm. Exploring the idea of the trophy girlfriend was something Zendaya really helped to shine as Malcolm doesn’t see that the accomplishments he made as a result of Marie’s efforts.
“The way Zendaya and Washington can bounce off each other in fury and lust, varying from moment to moment, is absolute.”
John David Washington blazes through this film. Malcolm’s zealousness when he arrives home is unadorned and it’s clear to see how free he feels to celebrate his accomplishments. His ability to show pure, unadulterated frustration is something that occurs frequently throughout as he recites Malcolm’s long tirades about the “white lady from the LA Times” who doesn’t understand him or his filmmaking; his narcissism being unearthed further with every rant.
The magnetic chemistry the two share is the standout here. The way Zendaya and Washington can bounce off each other in fury and lust, varying from moment to moment, is absolute.
“A tale of war and reconciliation.”
The score rises and falls with the tension ingeniously, sometimes halting altogether to embrace the tension and drama. The likes of I Forgot to Be Your Lover by William Bell and Wasted by NNAMDÏ play during the runtime and act as pillars within this narrative, mimicking what is happening in the plot. Marie plays Get Rid of Him by Dionne Warwick on her phone, perhaps in an effort to lighten the mood, but Malcolm doesn’t appreciate the sentiment, accepting it instead as a mockery of him.
A tale of war and reconciliation, Malcolm & Marie is an exhausting and emotionally draining watch, but it is also a remarkable and finite look into two characters who both have their own downfalls and insecurities to only have perhaps become stronger as a couple after addressing them. The last few lines spoken are satisfying and a fitting end to a turbulent story.
You can watch Malcolm & Marie on Netflix now.
Gemma Nettle
Featured image courtesy of ball_indy_ja0 via Pixabay. Image license can be found here. No changes were made to this image.