Madeline's Madeline

2018, Drama, 1h 34m

123 Reviews 250+ Ratings

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critics consensus

Madeline's Madeline proves experimental cinema is alive and well -- and serves as a powerful calling card for Helena Howard in her big-screen debut. Read critic reviews

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Movie Info

Madeline has become an integral part of a prestigious physical theater troupe. When the workshop's ambitious director pushes the teenager to weave her rich interior world and troubled history with her mother into their collective art, the lines between performance and reality begin to blur. The resulting battle between imagination and appropriation rips out of the rehearsal space and goes through all three women's lives.

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Critic Reviews for Madeline's Madeline

Audience Reviews for Madeline's Madeline

  • Mar 14, 2019
    Decker's usual directing style and artsy-fartsy mannerisms become organic for a story about mental illness, making us share the character's dissociation, but the film is sadly uneven, with almost as many brilliant moments as obvious ones and not really going anywhere in the end.
    Carlos M Super Reviewer
  • Dec 10, 2018
    It's not difficult to see and appreciate the intent of director Josephine Decker's Madeline's Madeline, an artsy, indie movie about artsy, indie people, but it is difficult to become immersed in their world when the message about the process and the craft-no matter how vital the performances or justified the feelings-fails to be intriguing to anyone beyond this realm. I love to write, I love the creative process, and while acting terrifies me I find a person's ability to give themselves over to the confidence it takes to embody something other than who they're already trying to work up the confidence to embody completely admirable. And yet, Helena Howard's titular Madeline never comes off as a performer authentic in her love of the craft, but more a young and impressionable soul struck by the mystic intangibility of what being an actor means. Madeline's Madeline tries its damnedest to sidestep ones expectations of any kind of formula within its filmmaking, but in the process of avoiding such trademarks it forgets to create one of its own that both demystifies and enlightens the audience as to why they should care as much about the method as they should the final, prepared version presented on screen. In other words, I just didn't get it.
    Philip P Super Reviewer

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