25 does read like a modern and pointedly upper-middle-class take on the sped-up montage of Ellen Burstyn cleaning her apartment, hopped up on diet pills, in Requiem for a Dream.) (Although, a fleeting scene of Anna woozily fishing leaves out of the pool to the strains of Mozart's Symphony No. Such bourgeois hypocrisy becomes a complicating factor within the narrative, without in any way becoming the point. Nor does she feel duty-bound to visit judgement upon Milla's parents, who bristle at Moses's drug habit and yet, when it comes to the matter of their own neuroses, are quick to reach for the prescription pad. Kalnejais is smart to retain this ambiguity even as the chemistry fitfully blossoms between the two of them, leaving open the possibility that intentions on both sides are not entirely pure. ( Supplied: Universal Pictures/Lisa Tomasetti) Murphy says there can be a powerful emotional effect when a character breaks the fourth wall, if it's done cleverly. (Don't worry, it's not on the soundtrack.)Įqually, Moses wants his 50 bucks, and to maybe swipe some of those prescription pills while no one's looking. Milla's doing so suggests a teenage rebellious streak, a longing for excitement, undoubtedly intensified by the logic of that Tim McGraw song. The revelation that he's 23, Milla's senior by an unsuitably large margin, doesn't help matters: "I'm a bit freaked out by that," mother Anna confesses, half laughing - extra candid thanks to the benzos in her system, as prescribed by her psychiatrist husband.Īnd on some level, that would seem to be the point: Moses is precisely not the kind of guy you bring back to your tastefully furnished, open plan suburban Sydney home to meet your folks, however loving and liberal-minded they may be. When he proceeds to ask her for money, she promises $50 if he'll agree to take clippers to her head, and then accompany her home to dinner - where his roguish demeanour, and her freshly botched 'do, cause the deep furrowing of parental brows. Toby Wallace (right) won Venice Film Festival's Marcello Mastroianni Award for best young actor for his performance. Though lacking in eloquence, he exudes a certain raw geniality. "Your hair's like bangles or something," he proffers, head cocked in drug-addled contemplation of her long auburn tresses, yet to be shorn. (The prize also went to an Australian in 2018: Baykali Ganambarr, for his role in The Nightingale.)įestooned with tattoos and a rats-tail that announce him as a miscreant (and maybe a Die Antwoord fan), Moses first stumbles into Milla's orbit while she's waiting for a train after school. Moses, the lanky, rough-hewn object of her budding affections, is played by Wallace, who took out the Marcello Mastroianni Award for Best Young Actor at the 2019 Venice Film Festival, where Babyteeth premiered. ( Supplied: Universal Pictures/Lisa Tomasetti)Īs Milla, Scanlen readily swings between shy and reckless, vivacious and sullen - her temperament changing as often as her wigs: she opts for a long, sandy blonde number at school a messy bleached bun for sneaking out of the house a choppy turquoise bob at home. Murphy says actor Eliza Scanlen learned to play violin in just three weeks, for her role.
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