The Tale is a film, but to call it just a film feels reductive. It’s a memoir – a visual account of director Jennifer Fox’s childhood abuse, as well as an exploration of how that abuse rippled across her life and influenced her as an adult. But it also plays like a visual essay on the power of memory, and how we (willingly and unwillingly) alter our interpretation of events to fit a narrative, and even make us more comfortable. So, yes, The Tale is a film, but it’s far more complicated than that – and because of this, it’s one of the best movies of 2018 so far.
Laura Dern plays the cinematic version of Jennifer Fox who, in the film’s opening moments, rereads a short story she wrote at 13 about her horse-riding instructor Miss G (Elizabeth Debicki), and her track coach, Bill (Jason Ritter). She remembers Miss G as this beautiful woman and wonderful teacher who helped her escape from an unhappy home life, and gave her attention that her busy parents could not provide. She also remembers Bill as her first boyfriend, who just happened to be an “older guy.” But, of course, the reality of these events is far different than Jennifer remembers them and, as she explores her abuse at the hands of the two adults she trusted, the audience is shown numerous versions of the story, tasking us to sift through the façade of memory to find the truth.
Of course, the truth is that Jennifer was taken advantage of, and seeing how Fox, the director and character, comes to that realization is truly powerful, as well as a master-class in flashback driven narrative. Characters break the fourth wall, as if being interviewed by Jennifer, and provide context, possible motives, and hints at a backstory. The movie is also unflinching in its depiction of abuse, but handled with sensitivity and a sense of seriousness not typically found when filming rape scenes. Because of these scenes, the film is certainly not for everyone – a content warning at the opening of the movie makes that clear. But, going forward, directors should follow Fox’s lead when filming these sequences, as she proves there is a way to handle this content without feeling exploitative or needlessly graphic. She packs a punch, without resorting to shock value.
Fox also assembles an impressive ensemble of actors who deliver award-worthy work. Dern is, of course, a marvel, as we see her character slowly reinterpret her childhood, until a final sequence that leaves the viewer feeling gut-punched. Meanwhile, her 13-year-old counterpart, Isabelle Nélisse, carries the difficult task of playing intense, deeply uncomfortable scenes with a sense of professionalism not usually found in child actors. She handles the complex role with aplomb. Jason Ritter also has the unenviable job of playing a human monster, which he pulls off, and Ellen Bursytn makes an impression as Jennifer’s mother, who feels wracked with guilt for not knowing about her daughter’s abuse. But the actor most worthy of notice is Elizabeth Debicki, who is absolutely stunning as the complicated, mysterious Mrs. G. Jennifer doesn’t know much about the woman who abused her throughout her childhood, thus Debicki plays her in a dozen or so different ways, as both the audience and narrator attempt to understand this complicated woman. Debicki knocks it out of the park in every scene, whether she’s playing a victim, a stern coach, or a conniving psychopath. Her final scene will send a chill down your spine.
In film corners, there is much debate over what, in this age of streaming media, constitutes a film. Should a film that premiers on Netflix or HBO qualify for Oscars? Or should it be viewed as a TV show? Frankly, this is a pointless, needlessly nitpicky debate – not to mention one with classist overtones. A film is a film, no matter where it’s viewed first, and The Tale is an absolute landmark in terms of onscreen personal storytelling, so pretending it’s not a movie willingly creates a blindspot in the film community. What Jennifer Fox does here is tell her personal story as a drama, while also exploring what it means to revisit your past, and understand your childhood as an adult. Make no mistake: this is uncomfortable viewing. But it feels necessary, and all those involved – specifically Dern, Debicki, and Fox – should be rewarded for their hard work, not reduced to a talking point in a silly debate.
Overall rating: 10 out of 10
