Elizabeth Olsen makes her cinematic debut in Sean Durkin's 'Martha Marcy May Marlene', a psychological thriller about life after escaping (?) a cult and the paranoia that accompanies it. MMMM is an accomplishment of atmospheric filmmaking, with first-time director Durkin managing to shroud every moment of regular life with a sense of unease and brooding tension that usually wouldn't be there. Some shots last for what feels like an eternity whilst others pass within seconds, some moments you think you see something whilst in others you feel it, you never know what is -or isn't- coming and its gripping. The editing also adds to the sense of unease within the film, flitting between protagonist Martha's life at the cult and her current one without a moments notice. Everything within the way the film is made feels like it's out to get you, and, much like Martha, you don't know if it is or not. As far as performances are concerned Olsen does an outstanding job, playing Martha with a sense of subtlety and fragility that is skill-wise unmatched by the rest of the cast. John Hawkes also does a great job as the cult's charismatic leader, blurring the line between kindness and cruelness in an always-interesting fashion. Perhaps the film's only flaw is the way some of its characters react, with Martha's sister and brother in-law in particular coming off occasionally as so plundering its silly. Verdict: A great debut for both its star and director, Martha Marcy May Marlene is an intense ride.

The log line says this film is about attempting to re-integrate a cult survivor into a family, and it is, but I thought that was only one aspect of the plot; almost more interesting was the far-reaching impact of sexual exploitation at a young age, and the way that the film lays bare just how many of our practices, rituals and social norms are based on a presumed common understanding of sexual mores. The standout scene for me is when Martha goes swimming upon returning to her sister's house, and unblinkingly strips naked before she jumps in. It's kind of like when a film gives you the ending first - you have to ask, "So how did you get to this point?" It's a particular kind of disruption, and something not commonly seen in mainstream film. Fairly well acted, particularly by that other Olsen sister, and though slow in places, a compelling watch.