The Kindergarten Teacher dropped on to Netflix for American audiences at the end of last year but has been granted a theatre release on this side of the pond. As someone who far prefers the cinema experience, the wait for Sara Colangelo's interpretation of the 2014 Israeli film of the same name has been more than worth it, with the film's extraordinary intensity and cutting atmosphere brilliantly amplified by the theatrical setting.
Extremely dissatisfied, kindergarten teacher Lisa Spinelli (Maggie Gyllenhaal) attends a weekly poetry class to escape her humdrum life, but her work is dismissed as 'derivative' by her peers. When one of her young students, Jimmy, is overheard composing, she believes him to be an extremely gifted individual; when her admiration turns to infatuation and later obsession, Lisa sees Jimmy as a prodigy and takes it upon herself to nurture his talent in a way that transcends what is considered appropriate conduct. Written and directed by Colangelo, The Kindergarten Teacher is one of the most tightly-wound, brilliantly compelling character studies cinemas has seen in some time.
Gripping from open to close, The Kindergarten Teacher trounces any thriller released last year in terms of suspense, imbued with Hitcockian-level intensity that Sara Colangelo's assured, astonishingly tight yet understated direction renders superbly. Discomfort pervades throughout all 97 minutes of this expertly-assembled piece, with the simmering atmosphere building and building to almost unbearable heights, planting you firmly on the edge of your seat. Interestingly, Lisa is rarely captured centre frame, particularly during the school scenes where she remains on the boundaries - very much like in her moral conduct - often lurching in and out of the shot, surrounded by muted colours that speak subtly but powerfully of her drained existence.
Asher Goldschmidt's score assembles various classical pieces which are utilised stunningly, enriching the foreboding mood that lingers extremely effectively across the film: the intense compositions instils a distinct identity for the film's discussion of culture and art, aiding the central conversation on protégées and young talent.
Colangelo's screenplay, inspired by the original Israeli version from Nadav Lapid, prickles with moral complexity and thematic depth that presents this character study with extraordinary texture and maturity. Exploring the value of creativity, moral responsibility and culture's depreciation of art and youth, the brilliantly ambiguous script examines a complicated situation with fascinating refinement, allowing audiences to ultimate develop their own opinions because of the intriguing grey area provided by Colangelo. Her dialogue simmers, with layers to every conversation and exchange; one particular line during a poetry recital is delivered so simply, so matter of fact, but becomes a seismic wave that shifts the film's foundation astonishingly. It's truly beneficial that the film shares a writer and director, mining the script's depth for all it's worth.
So much rests on Maggie Gyllenhaal's line-blurring performance and she delivers an extraordinary, career-best turn as Lisa Spinelli. Gyllenhaal has long been a (disappointingly overlooked) powerhouse performer in nuance, with her extraordinary ability to convey profound emotion in her smallest mannerism and wordless reaction affirming her as one of our most compelling, magnetic screen presences. Her strong characterisation here informs the role early on, cultivating the uneasy atmosphere as early as the opening scenes that she maintains with her sublime, award-worthy work. Impressing further, Gyllenhaal generously lifts up young Parker Sevak's performance and their dynamic, so crucial to the film's main discussion, is extremely enthralling, decidedly-agitated viewing.
While the main chunk of the narrative arc is tightly-plotted, it can be at the expense of promising subplots that are somewhat overlooked, not given the scope and attention they would benefit from; read this also a compliment to the detailed writing, where every side-story provides an abundance of riches for consideration. The piece operates well in encouraging audiences to interpret things for themselves, but the film is told predominantly through Lisa's experiences: it is understandable, but a focus into Jimmy's perception of the evolving relationship would elevate it even further.
The Kindergarten Teacher is a terrifically-taut, thrilling and thoughtful character study that leaves an indelible mark long after the credits have rolled; a powerful discussion on moral responsibility and society's dulling of a creativity identity, Sara Colangelo's film exceptionally-constructed effort places real trust in the audience's interpretation of events and situations. With ingenious depth, the throbbing atmosphere and nail-biting intensity make this claustrophobic and layered character study a masterclass in writing and filmmaking prowess. Elevated even further by Maggie Gyllenhaal's exemplary work, unwavering confidence and fascinatingly nuanced, The Kindergarten Teacher is masterful filmmaking, more intense than any thriller (and scarier than almost any horror) released in the past twelve months.
9/10
Summary: With an extraordinary performance from Maggie Gyllenhaal, and Hitchcockian-level intensity imbued into each and every scene, Sara Colangelo's The Kindergarten Teacher is an emotionally-complex and fascinating character studies that really takes your breath away.
Gripping from open to close, The Kindergarten Teacher trounces any thriller released last year in terms of suspense, imbued with Hitcockian-level intensity that Sara Colangelo's assured, astonishingly tight yet understated direction renders superbly. Discomfort pervades throughout all 97 minutes of this expertly-assembled piece, with the simmering atmosphere building and building to almost unbearable heights, planting you firmly on the edge of your seat. Interestingly, Lisa is rarely captured centre frame, particularly during the school scenes where she remains on the boundaries - very much like in her moral conduct - often lurching in and out of the shot, surrounded by muted colours that speak subtly but powerfully of her drained existence.
Asher Goldschmidt's score assembles various classical pieces which are utilised stunningly, enriching the foreboding mood that lingers extremely effectively across the film: the intense compositions instils a distinct identity for the film's discussion of culture and art, aiding the central conversation on protégées and young talent.
Colangelo's screenplay, inspired by the original Israeli version from Nadav Lapid, prickles with moral complexity and thematic depth that presents this character study with extraordinary texture and maturity. Exploring the value of creativity, moral responsibility and culture's depreciation of art and youth, the brilliantly ambiguous script examines a complicated situation with fascinating refinement, allowing audiences to ultimate develop their own opinions because of the intriguing grey area provided by Colangelo. Her dialogue simmers, with layers to every conversation and exchange; one particular line during a poetry recital is delivered so simply, so matter of fact, but becomes a seismic wave that shifts the film's foundation astonishingly. It's truly beneficial that the film shares a writer and director, mining the script's depth for all it's worth.
So much rests on Maggie Gyllenhaal's line-blurring performance and she delivers an extraordinary, career-best turn as Lisa Spinelli. Gyllenhaal has long been a (disappointingly overlooked) powerhouse performer in nuance, with her extraordinary ability to convey profound emotion in her smallest mannerism and wordless reaction affirming her as one of our most compelling, magnetic screen presences. Her strong characterisation here informs the role early on, cultivating the uneasy atmosphere as early as the opening scenes that she maintains with her sublime, award-worthy work. Impressing further, Gyllenhaal generously lifts up young Parker Sevak's performance and their dynamic, so crucial to the film's main discussion, is extremely enthralling, decidedly-agitated viewing.
While the main chunk of the narrative arc is tightly-plotted, it can be at the expense of promising subplots that are somewhat overlooked, not given the scope and attention they would benefit from; read this also a compliment to the detailed writing, where every side-story provides an abundance of riches for consideration. The piece operates well in encouraging audiences to interpret things for themselves, but the film is told predominantly through Lisa's experiences: it is understandable, but a focus into Jimmy's perception of the evolving relationship would elevate it even further.
The Kindergarten Teacher is a terrifically-taut, thrilling and thoughtful character study that leaves an indelible mark long after the credits have rolled; a powerful discussion on moral responsibility and society's dulling of a creativity identity, Sara Colangelo's film exceptionally-constructed effort places real trust in the audience's interpretation of events and situations. With ingenious depth, the throbbing atmosphere and nail-biting intensity make this claustrophobic and layered character study a masterclass in writing and filmmaking prowess. Elevated even further by Maggie Gyllenhaal's exemplary work, unwavering confidence and fascinatingly nuanced, The Kindergarten Teacher is masterful filmmaking, more intense than any thriller (and scarier than almost any horror) released in the past twelve months.
9/10
Summary: With an extraordinary performance from Maggie Gyllenhaal, and Hitchcockian-level intensity imbued into each and every scene, Sara Colangelo's The Kindergarten Teacher is an emotionally-complex and fascinating character studies that really takes your breath away.