Why Natalie Portman-Julianne Moore's 'May December' is everyone's new favorite
May December, headlined by Natalie Portman, Julianne Moore, Piper Curda, and Charles Melton, arrived on Netflix in the United States and Canada on Friday. The Todd Haynes directorial premiered at the Cannes Film Festival in May, where it competed for the top prize: the Palme d'Or. It was also released in select American theaters on November 17. Here's everything about the Hollywood film.
Story of 'May December'
The film is loosely based on the notorious teacher-turned-sex offender Mary Kay Letourneau, who was found guilty of two counts of felony second-degree rape of a child, her student, Vili Fualaau. Its IMDb description says, "Twenty years after their notorious tabloid romance gripped the nation, a married couple buckles under pressure when an actress arrives to do research for a film about their past."
This is how Haynes approached film
Haynes earlier told Deadline, "When I read [the script of]May December, my initial instincts were a bit protective." He also mentioned the "choices that [screenplay writer Samy Burch] had taken away from the Mary Kay Letourneau story and the distinctions in her script from that case. Haynes added, "My feeling was, 'Let's start with this as a fiction, and let's really focus on that.'"
Awards: 'May December' dominated these categories
Besides earning commendations from critics and audiences, May December has also been receiving several awards. Some of them include the Virtuoso Award at the Santa Barbara International Film Festival for Melton, Best Screenplay (Burch) and Best Supporting Actor (Melton) at the New York Film Critics Circle Awards, and the Breakthrough Performance Award for Melton from Celebration of Cinema & Television.
Here's what international viewers wrote about it
Tell-Tale TV wrote, "The performances make May December a captivating viewing experience. Charles Melton especially gives a career-making performance. It's not easy for an up-and-coming actor to stand out while acting next to powerhouses [Portman and Moore]." The Atlantic opined, "Haynes has made a beautiful, terrible nesting doll of a film with a uniquely twisted core."
