Todd Haynes has an eclectic collection of films he’s directed for many years, including the likes of Far From Heaven, I’m Not There, Velvet Goldmine, and the lauded Carol – so he’s a filmmaker who’s difficult to pin down to one category, although they tend to touch on themes of sexuality (in various forms) and complicated people who aren’t your usual mainstream focus – and May December is definitely no exception in that regard, with a tale that sits on the edge of trashy but in its place is an equally unsettling and voyeuristic view into a controversial subject.

I don’t usually start a review with a slight disclaimer but if you’re happy to experience something unusual, then don’t read on because – for the purposes of reviewing – I obviously need to give to discuss background and synopsis summary.

In May December, we follow the life of Gracie and Joe Atherton-Yoo (played by Julianne Moore and Charles Melton), who initially give the impression of an everyday couple – although their age difference is clearly evident. In a short time, it turns out their relationship began out of an infamous incident in a Pet Shop in the local town, which became a media frenzy as there’s a 23-year gap between them and when this was discovered, Gracie ended up in prison and had their baby whilst she was locked up – the first of their three children together.

Set after she’s served time, May December wastes none of the ‘now’ by introducing Natalie Portman’s Elizabeth, a television actress who has come to stay with the family in order to learn more about Gracie, as she’ll be portraying her in a new indie film about the scandal. But Elizabeth isn’t staying on any normal week, it’s also the graduation of Gracie and Joe’s twins and it’s not long before Elizabeth is fully embedded in researching her role, by talking to people in town about their place in the melodrama, and this causes a ripple across everyone involved, as she begins to unsettle the natural balance that (on the surface) Gracie, Joe and their young family appear to have mastered, years after the storm has calmed.

With that in mind, things in the ‘now’ aren’t quite what they seem, behind the suburban-like perfection, and as Elizabeth continues to dive into their lives, despite Gracie’s agreement that she can do so, she starts to unintentionally (or maybe intentionally) crack the masks that every adult is hiding behind, and who better than an actor to get behind a mask and begin to emulate Gracie, both in mannerisms and psychologically.

May December offers a tale of moral ambiguity and melodrama, but Haynes also creates a purposefully uncomfortable watch, and although there’s a note of black comedy in a few places, I found it more broodingly intense as it steadily questions your viewpoint on the situation. I felt more than a linger of the atmosphere you get in the likes of The Talented Mr Ripley, so those Patricia Highsmith tales that find you sat at a café, where you wouldn’t usually be, watching curious lives play out in front of, beyond that of your own, yet you can’t help but watch from the corner of your eye.  

The key to this attraction is three strong lead characters, with the exceptional Julianne Moore leading the way – and also working with Haynes once again. You can see why they work well together, with Moore fluently inhabiting so many varieties of people. She’s always a must-watch and an actor who brings a true gravitas to her characters, especially when that person is deeply affected and hiding complex feelings and psychosis. With Gracie, you’re never quite sure if she’s genuinely (knowingly) in control of those around her, but she’s certainly a force of an unbalanced nature. You can feel a deeper trauma holding in this ‘perfect’ vision she has of the life around her – but maybe whatever the reality, it doesn’t really matter to her.

Through the reflection of Gracie, is Natalie Portman’s Elizabeth, another actor who excels and here she plays an askew form of an actor playing an actor. It’s mesmerising observing her methods as she gradually layers the character she wants to create by mimicking Gracie. Their one-on-one scenes are entertaining and uncomfortable to watch, as if you can’t quite tell if something suddenly tragic will occur.  She exudes simplicity and sensuality yet all the while in the guise of an actor/detective, weaving her way into the story that isn’t hers.

The welcomingly refreshing performance is from Charlie Melton, as the younger husband and (in effect) a victim of the past. In many ways, he’s had a life taken away from him that he’ll never know as a young teenager, and you see that in the performance. His world went from school, to a news story, to a father, a husband all via the guidance of Gracie, in whatever form. His character grows in stature as the story progresses, even if he initially seems like the more restrained of the trio. Over time, his very teenage-like nature develops across deep naivety through to genuine pride over being a father seeing his kids graduate. It’s a smart, nuanced (and sometimes desperately sad) performance and one to be proud of.

May December is very much a slow burn, and I was glad to go in cold. If you’ve kept reading beyond my initial disclaimer, I’d recommend not researching any similar subject to just see where the unknowing nature of the narrative pulls you, as it might not always be comfortable but that’s fine by me – as it tests your own reaction to stories and life itself, in all its peculiarity.

And, by the end, how will it conclude? You’ll have to find out yourself amongst the intensely loud scoring, which I didn’t dislike but sets a certain mood that sits amongst the 70s psychological entwined with a kitchen sink drama from a place that seems beyond reality, although we know could easily be a family on your street.

Alluring and uncomfortable, fascinating and frightening, May December will absolutely split the love/hate crowd, but it’s worth engaging in, if only the once.

May December is in UK cinemas now and Sky Cinema from 8 December