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The new horror-drama “Earwig,” a lucid, dreamlike melodrama about a girl with ice teeth and her grouchy middle-aged guardian, is impossible to discern if there is too much story or not enough. To be honest, the movie’s co-writer Geoff Cox and director Lucile Hadihalilovi (“Evolution,” “Innocence”) do not faithfully adapt Brian Catling’s original book, but that is possibly its worst flaw. You simultaneously want to feel more connected to Mia (Romane Hemelaers) and her troubled minder Albert and learn less about them thanks to the rich audiovisual textures and subtleties that make “Earwig” appear and sound like a live-action painting (Paul Hilton).
Eventually, a parallel subplot with Celeste (Romola Garai), a traumatized bartender, and Laurence (Alex Lawther), her stern partner, is set up with Mia and Albert’s troubled connection. The film’s other appealing aspects, such as the creepy, minimalistic score by composer Augustin Viard and the stunning impressionistic close-ups by cinematographer Jonathan Ricquebourg, finally become lost in the well-articulated parallelism of these two narratives. Because of this, “Earwig” never stops describing what we’re seeing and why their experiences are piled on top of one another, even when it frequently threatens to descend into a potent and frigid kind of dream logic.
One factor contributing to the film’s awkward blending of novelistic and surreal storytelling is its primary emphasis on Albert’s stuffy, disassociated point of view. As he makes Mia’s meals—milk and mashed potatoes because she can’t chew anything harder—and drains the spit valves that flank her fancy headgear, he scowls and fusses over her. Albert creates Mia’s dentures using the saliva that he extracts from her mouth. He then uses a model of Mia’s lower and upper jaws to form her frozen spit into dentures.
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This and other oppressive routines initially characterize Mia and Albert’s life until Albert’s mysterious benefactor calls and instructs Albert to get Mia ready for delivery to an unspecified location. Albert tries to hide his obvious distress when his client informs him that his services won’t be required for much longer, but all that happens is that he ends up running into his troubles at a nearby bar where he meets Celeste and an enigmatic stranger (Peter Van Den Begin). If Albert has ever pondered what it might be like to be someone else, this stranger asks. That query and its complex ramifications divide “Earwig” into two sections, the first of which makes a query, and the latter of which succinctly provides an answer.
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The main theme of “Earwig” is Albert’s lack of empathy or universal understanding. He and Mia share the same uncomfortable nurse/patient relationship, which he later finds difficult to comprehend from Celeste’s perspective after an unexpected act of violence results in an enigmatic telepathic link between Albert and Celeste. Perhaps because he spends so much time caring for Mia, Albert can’t understand her. But when Albert sees Celeste, it troubles him for reasons that are mostly revealed by the film’s conclusion.
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The warm fall hues of “Earwig,” mostly amber brown and pea green, evoke the cozy decadence of Claude Monet’s paintings and Enki Bilal’s comics (the works of Danish painter Vilhelm Hammershi are a recognized inspiration). In this situation, the crinkle of yellowing newsprint and the creak of wooden floorboards are just as comforting as Albert’s frown’s downward curl or the pulsating sounds he makes by circling one finger around the mouth of a crystal drinking glass.
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Although “Earwig” is subtle and perhaps seductive, its perspective on Albert and his surroundings is always unmistakable. Albert and Laurence are there to make sure Celeste and Mia don’t get too far away from the men who run their everyday lives. And because Mia and Celeste are there for that, Albert never reveals to us precisely what about his background frightens him. In all instances, a shadowy figure named Anastasia Robin lingers around, and her presence reveals more about Albert than it does about anybody else.
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Other than that, there are a few strong reasons to watch “Earwig,” which is possibly Hadihalilovi’s most approachable film to yet. She is a skilled image-maker, and her unique perspective has undoubtedly influenced her colleagues. Viard, whose ethereal, tone-heavy score was notably arranged by Australian musician Warren Ellis, is one of these collaborations. Given how charming “Earwig” frequently appears from scene to scene, it would be a mistake to dismiss it out of hand.
Even yet, “Earwig” is lacking something crucial, and it’s not for want of ideas or inventiveness. The newest work by Hadihalilovi is too blurry to be a fantastic adaption and too focussed to be truly dreamlike.
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