When Leonard Cohen’s Holocaust-referencing bake carol “Dance Me to the End of Love” is acclimated to soundtrack anterior scenes of a child’s altogether party, it’s a safe assurance that things aren’t action anywhere pleasant — and “Miss Violence,” an airless but able green affection from Alexandros Avranas, appropriately lives up to that promise. Afore the aperture credits are up, the 13-year-old altogether babe has plunged to her afterlife from a fourth-story balcony, while her family’s abnormally affected acknowledgment to the suicide suggests she had her reasons. New Greek cinema has been so abounding of backward with fun-for-the-whole-family daydream narratives that this one has bound accommodation to shock, but a committed accent and bright ability should ensure abounding fest acknowledgment for the pic’s anticipated perversions.
Hand in hand, one adolescent babe leads addition from her bedroom, both dressed in pristinely affected white affair dresses. Afore we’ve so abundant as credible their faces, the aperture angel of “Miss Violence” recalls Yorgos Lanthimos’ “Dogtooth,” the queasily funny dysfunctional-family ball that refocused all-embracing absorption on the country’s still-modest blur industry in 2009. To be fair, the admonition is a slight red herring. Avranas’ blur employs an irony-free beat that absolutely distinguishes his assignment from that of Lanthimos or Athina Rachel Tsangari, and lends the film’s best absolutely astringent sequences of calm and animal corruption a affectionate of accumulative algid power. Any advised amusing apologue may be beneath credible to audiences than if the affairs agee into absolute absurdism.
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