A young woman is forcefully attempting to masturbate a younger man. Strangely uninvolved, he gazes blankly towards us through thick-rimmed glasses. Her movements are coarse, repetitive, factory-assembly-line actions: from his non-reaction she seems to have lost the instruction manual. The audience squirms—straining to see what is happening. The New York Times critic had a good seat but overlooked the rape: “Rose’s blunt attempt to ignite a sexual spark with Avery, as they sit next to each other in the theater’s seats, becomes emblematic of the way all three characters remain tone-deaf to one another’s yearnings, sensitivities, frustrations.” The Flick, by…
Subscribe to get access to all online articles
Already a member?
Sign in to read this article