A May December relationship is a term that describes a couple in a romantic relationship with a considerable age gap between them. The ‘May’ refers to the younger of the two, closer to the spring of their youth, while the ‘December’ refers to the elder of the two, and them being closer to the winter of their life. This is the dynamic of one of the main relationships focused on in Todd Haynes’ most recent film, May December, which premiered at the 76th Cannes Film Festival this year. It is campy, unpredictable, and highlights society’s obsession with scandal and gossip.
May December takes place roughly twenty years after a scandalous romance that swept tabloid covers. It focuses on an age-gap couple — Gracie Atherton-Yoo (Julianne Moore) who was 36 when caught with her 7th grade lover, Joe Yoo (Charles Melton), though Gracie makes it very apparent to Elizabeth that Joe was “the one who seduced her”, back in grade school. The couple, now married with children, then have their lives turned upside down when movie-star actress Elizabeth Berry (Natalie Portman) invites herself into their life, family and home in order to research for her role of Gracie herself in an upcoming film about their story.
Gracie believes that this indie film Elizabeth is starring in will help people better understand and respect her relationship with Joe, which is why she agrees to be studied and interviewed by the ‘live-in’ actress. Joe is understandably apprehensive and protective of Gracie, but eventually give in to the actress’ process and what unfolds due to her tactics and strategies —learning how and what makes these people tick.
What proceeds is an interesting take on obsession, scandal, the “actor’s process” and human psychology wrapped in a satirical bow. The performances are the core of the film in May December, and Haynes’ direction is precise enough, yet leaves this latest film of his often open to interpretation and speculation, as the viewer is offered to make their own opinions and draw up their own conclusions.
Portman and Moore’s characters walk on eggshells around one another, or perhaps its more akin to hot coals. It’s often awkward, insightful, but an always intriguing ever-undulating dynamic. They are quick witted, both fascinated with one another, yet simultaneously wearied of the other — holding themselves at arms length.
Things take an even sharper turn at high velocity when Elizabeth turns to Gracie’s ex-husband for an interview, unearthing his insightful perspective on the events that unfolded over twenty years ago. Not only this, but Elizabeth steps things up by beginning to focus on the younger of the couple, Joe, and begins her process of crawling under his skin, understanding his motives and feelings, both current and from his childhood. Her interactions with Joe become increasingly flirtatious and suggestive, and the line is blurred if this is Elizabeth’s actor’s process in order to literally put herself in her subject’s shoes, or her own raw desires showing through.
Haynes’ direction and artistic choices throughout are unexpected, though fresh and interesting. From obscure Ingmar Bergman references to experimental smash cuts and absolutely saturated in satire, May December is a fascinating peer into the internal workings of an actor’s process of becoming someone else. It places a magnifying glass over the workings and human psychology of a scandal as well as complex, morally gray areas.
It doesn’t give you the full equation and “correct” answer though, if there ever was one to begin with. Instead the film relies on ambiguity, letting the audience draw their own conclusions and opinions, which makes the film all the more frustratingly vague but satisfyingly authentic. We are but subjective observers to the world, happenings and events around us, and this is what Haynes intoxicatingly displays in front of our eyes for us to once again, interpret ourselves.
