May December: A Film Unveiling Our Endless Obsession With Tabloid Scandals


Todd Haynes’s May December is a twisted film exploring the aftermath of a tabloid fixture’s scandalous life from the ’90s.

A Tabloid Fixture’s Intriguing Story

In Todd Haynes’s May December, a movie star named Elizabeth arrives in Savannah, Georgia, to study Gracie, a woman who became a tabloid sensation in the ’90s for having an affair with a 13-year-old boy named Joe. Gracie and Joe are now married with three children, having moved past the scandal with a seemingly idyllic life.

The Deceptive Narrative Uncovered

As Elizabeth delves into Gracie’s life for her role, she starts justifying her intrusive actions as necessary research. The movie unravels the twisted and deceptive nature of the characters, shedding light on the ramifications of refusing to tell the truth.

Exploring Beauty, Deception, and Obsession

May December delves into the complex dynamics of the characters involved, condemning the perpetuation of tawdry stories and yet compelling viewers to acknowledge their own captivation with such scandals. The film challenges perceptions and sympathies, portraying the characters as haunted, complex, and deeply flawed.

Haynes’s Directorial Flair

Todd Haynes skillfully navigates the narrative’s tones, emphasizing emotional aftermath and character evolution in the wake of scandal. The film explores the impact of cultural transgressions and the individuals’ struggle with their own identities, depicted through restrained camerawork and compelling storytelling.

Masterful Performances and Symbolism

Julianne Moore embodies Gracie’s hardened resistance and desperation for control, while Natalie Portman skillfully portrays Elizabeth’s transformation into a parasitic figure justifying exploitative efforts. Charles Melton delivers a poignant portrayal of Joe, depicting his uncertain and tumultuous journey. The film’s symbolism, including the imagery of a caterpillar transforming into a butterfly, adds depth and poignancy to the narrative.