Sean Durkin’s long-gestating follow-up to Martha Marcy May Marlene is a more straightforward but still engrossing actors’ showcase.
“In case you couldn’t tell, The Nest is fixated on the effects of wanton capitalistic greed. A toxic belief that what one has is never enough and the pursuit of a nebulous ultra-wealthy more is all which matters, regardless of whether it’s really attainable or desired for those subscribing to it. Not for nothing is Durkin’s film set in 1986, the height of Reaganomics and Thatcherism in a loadsamoney economy driven by entitled formerly working-class wannabe patriarch figures like Rory playing dress up as rich men and relentlessly spouting their salesforce status bullshit until they’ve successfully alienated everyone they come into contact with. Short-sighted avarice built upon rotting foundations just waiting for the bottom to fall out so the system such people are enthralled to can thanklessly gobble them up before moving on. A faulty thoroughbred buried underground whose carcass rises back to the surface like a telltale heart.”
Full review exclusively on Soundsphere Magazine (link).
Callie Petch has got the fear, it’s holding on.