Love is an all consuming thing and this film goes some way in demonstrating the strength of that powerful four letter word. Anchored by two astonishing female leads, ‘Disobedience’ isn’t as resolute in the pursuit of its story and feels slightly lacking of consequence.
After a family tragedy, photographer Ronit Krushka (Rachel Weisz) flies from New York to London to pay her respects. The world she returns to is of the strict Orthodox Jewish community of which she’d left behind. As she stays longer, her past is unbottled and Esti Kuperman (Rachel McAdams) is a reason for why she was estranged and distanced from her father and his religion.
What this film has going for it, is a good sense of tenderness. Sebastian Lelio ensures that the central pairing of his stars are the focus, their developing connection one that feels soft and lovely around the edges. There are some great moments in the opening scenes of the film with the setting up of characters and Ronit’s arrival back in London comes with traces of strained family humour and a tickling sense of intrigue to these furtive looks that occur between Ronit and Esti.
On the other hand, it is this tender quality that can make the film feel somewhat wishy-washy. The burning nature of love and passion should be unmistakable and though you can tell the two ladies want each other, it’s the aftermath of their connection that never really hits like you’d expect or want. Perhaps the setting of it within the Jewish faith is why the glances and silence are all you get but a darker kick-back to what they do and what happened in the past would make this film more engrossing to watch.
In fact, the film doesn’t totally sell us on the build up to their elicit rendezvous, there’s just a smidge enough to know there’s something going on but it doesn’t feel like the movie has enough gusto to sell us on the fact and suddenly what happens, happens. It’s the softly softly approach which makes for good detailed performances but doesn’t help the screenplay feel sparkling, in fact the film quickly loses dynamics and come the end, it feels vaguely like a quiet soap opera.
Weisz is superb and you can see it in her face and the way she fiddles with her hair or scarf that she’s juggling feelings of grief, annoyance and love. McAdams is just as sensational as her counterpart, if not more so. The complicated state of her marriage, the possible lack of love in her life and the reappearance of Ronit are all carefully balanced by the American actor, she is captivating to watch and I wouldn’t be surprised to see her up for an Oscar in 2019.
‘Disobedience’ has some nice qualities and the background of the Jewish community feels well handled, Weisz and McAdams are the perfect lovers. If only the film didn’t disobey it’s own powerful rules on love, when it should have instead, committed to a more vivid and less unsatisfying flow of tension in the relationship.