![]() Luckily, her parents are not clueless archetypes or conservative zealots. ![]() MacKenzie), returns bloodied from an altercation in a hardware store with the father of one of the alleged abusers, who has the audacity to claim that Mandy is just as responsible for the footage. We only see the residue of violent acts, such as when her dad, Mickey (J.C. Shlohmo), emulating the waves of anxiety that threaten to cast her adrift. The last question any high schooler wants to hear is “You ok?”, one of many cryptic messages that flood Mandy’s phone with sudden rapidity as soon as the video is made public.Īn equally fitting title for “Share” could’ve been “ It Follows,” since the notorious events of which she has no memory have caused a scarlet letter to hover over her at all times, as deftly suggested by the score from Henry Laufer (a.k.a. An ongoing stream of offensive texts arrive from unlisted numbers in her inbox, disrupting her train of thought with every “ding.” Reverberating beneath these indignities is the primal fear of losing control felt by all teens as their bodies morph beyond recognition. Her sight is blinded by car headlights, maliciously operated by an unseen driver. Suspicious voices lead her into a darkened classroom, only for the door to be slammed shut. There’s as much palpable tension in this story as in any horror yarn, with Bianco heightening Mandy’s disorientation in numerous inventive ways. With her former friends now perpetually out-of-reach and in blurred focus, the ostracized girl finds herself the target of laughter echoing in seemingly vacant hallways. She refuses to fight against her removal from the girl’s basketball team, as punishment for doing exactly what her fellow players have done-albeit off-camera, since she’s well-aware of how poorly she’ll be treated if deemed an exception. By simply appearing against her will in the footage, Mandy has inadvertently broken an unspoken pact with her peers to keep their after-school activities a secret. Nothing bonds high school chums quite like basking in the illusion of impermanence, tricking themselves into thinking that their actions will have no long-lasting repercussions. “Share” becomes a deeply haunted film as Mandy’s world grows increasingly smaller. She goes about her typical daily routine until an iPhone video begins circulating online, showing her lying unconscious with her pants pulled down, while surrounded by a group of chuckling guys. Barreto plays Mandy, a 16-year-old who awakens on the lawn outside her house, after a night of heavy drinking with various classmates. Her performance is nothing short of a revelation, drawing us in even as she keeps her feelings to herself, avoiding any move that could potentially brand her as the object of attention. Whereas the short film version of “Share” had a recognizable star, Taissa Farmiga, in the lead role, the feature is headlined by Rhianne Barreto, a 21-year-old from west London who will likely be unfamiliar to most American viewers, but not for long. Nothing is made explicit aside from the internal agony of its heroine, whose headspace we occupy so fully, we can’t help sharing in every tremulous emotion that ripples across her face. In contrast with other programming on HBO, including the recently-renewed " Euphoria," with which Bianco is creatively involved, “Share” is a relatively restrained work. In addition to its signature blend of boundary-pushing shows and mainstream blockbusters, HBO has become as vital a distributor of top-drawer indies as Netflix or Hulu. Yet like far too many recent, uncompromisingly honest adult dramas, it never received a theatrical release, arriving instead on the small screen. Pippa Bianco’s debut feature, “Share,” based on her own 2015 Cannes prize-winning short of the same name, was greeted with considerable acclaim upon its premiere at this year’s Sundance Film Festival, where it earned two major accolades. ![]() ![]() “I try to find a cinematic language that shifts from the male gaze to the female experience-not the female gaze because for me, as a woman, it’s not ever about the gaze, it’s about the experience.” Deborah Kampmeier
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