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Buckley, a determined woman, chooses to get away from it all and embarks on a trip to the English countryside.
There, she stays in a majestic mansion for a fortnight, a place that exudes an idyllic charm.
The owner of the mansion warns her as she bites into an apple that falls from the tree: ‘You shouldn't have done that. Forbidden fruit’. This seemingly innocent act sets off a chain of events that will mark a turning point in the history of science.
In the midst of her grief and inner search, Buckley is challenged to heal her wounds and find peace with herself.
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Her world is shaken as she interacts with a series of characters whose characteristics are reminiscent of Guillermo del Toro's style.
These individuals will provoke an emotional revolution in her, confronting stereotypes about femininity and masculinity.
Men', as free as it is profound, takes us through metaphors and allegories, with captivating images that will satisfy Garland's fans.
What begins as a psychological thriller evolves into a terrifying finale with elements of fantasy cinema, challenging the viewer to unravel an open-ended and enigmatic plot.
This lack of concreteness can dilute the message the author is trying to convey, leaving the viewer with the task of interpreting the hidden meaning in this story.
The performances are exceptional, the photography is evocative: never has the nature of the countryside felt so suffocating. If I had to fault it, it would be a certain overuse of special effects, which would have been more effective had there been fewer of them.
‘Men’ contains some of the most beautiful passages I can recall in a film of this genre, with special mention of the protagonist's walk through the damp, verdant countryside somewhere in England, and the music composed for the occasion by Ben Salisbury & Geoff Barrow, somewhere between Gregorian chant and a minimalist Requiem, is the perfect setting for the uneasiness the film needs.