In hire leaves a melodrama Shannon Murphy “Milk teeth”, which gathered at last year’s Venice film festival a bunch of minor prizes and one bigger prize Marcello Mastroianni for best young actor, which was a 25-year-old Toby Wallace. According to Julia Siegelman, the picture tries too hard to please the audience, that she really was.At first glance “baby teeth” are similar to any small independent film about growing up, which is accustomed to see in Venice, and in sandelowski festival program. The main character Milla (Eliza Scanlan) — sixteen-year-old schoolgirl from a wealthy family, attends a private school for girls, without enthusiasm (and a special talent) is the violin, preparing for graduation. Parents — psychiatrist Henry (Ben Mendelsohn) and scoring a career pianist Anna (Essie Davis) — not even strict, but in this age, like, supposed to rebel, and Milla brings home a tattooed thug Moses (Toby Wallace), whom he met at the train station. Guy kicked out of his home, he is clearly under the substances and also older than her by seven years — it is clear that even the most tolerant parents such a character will not like. But the girl seemed not to notice their reaction, she did not notice anything fenced off from the world with a transparent but impenetrable wall, inside of which only she and Moses.On second glance, the picture is similar to any movie about growing up, in which the hero, and often the character who will die soon, for example the Fault in our stars (2014), “me, Earl and the dying girl” (2015) or last year’s domestic “death to the us to face”. Yes, in about twenty minutes of screen time will find that a nervous protest Milla is not clear against what, and against all right, and at a constant smoldering frustration that accompanies even the most mundane (like, say, cooking Breakfast) actions of her parents, there is a good reason. Milla is sick, apparently, hard, and hopeless, and her sudden, as a Finnish knife, feeling to see Moses not just first love neat girls to bully, but a desperate attempt to cling to life, to make all the mistakes, the time to finally become an adult.The screenplay Rita Corneas for which, as for Shannon Murphy, this is the debut feature film, written in his own play, but the Director really tries to move as far away from the theater. In the film, little dialogue, and they’re pretty incoherent, “as in life”, but a lot of graphic and production techniques designed to give a picture of sincerity and immediacy, but in fact take it into banality: the trembling handheld camera, reflections of neon lights on the faces close-UPS of eyes, lips, curls of hair on the ear, gentle melodies of Mozart to Tune-Yards on the soundtrack, whispers, timid breathing, the dubious relationship of an adult man and a minor schoolgirl, as if justified by the inevitability of the tragic outcome.All this girly cute and lyrical, and at first working (still sick children and adolescents is a win — win emotional trigger), but almost two-hour duration is the picture a disservice, turning it into a series of duplicate stamps. This is only underlined by the fact that it is divided into many short episodes, each of which has its own subtitle, and nothing but the desire to make “original”, this formalistic loop can not be explained. More and more obvious it becomes that the authors by and large have nothing to say neither about life nor death, nor Woe, nor about love (first forbidden, the parent is not important), and this emptiness comes over the screen, as well as in the final sea wave rolls on the deserted beach of another visual truism.
