In its simplest form, Madeline’s Madeline is made up of toxic mother-daughter relationships, biological or otherwise. Decker stretches the medium, creating a film that is at once uncomfortable and brilliant in its examination of intellectual and emotional appropriation. The switch between fever dream and conscious narrative, between immersive theater and mental illness, is reminiscent of Charlie Kauffman’s Synecdoche, New York. It’s an understatement to say that Madeline’s Madeline is unconventional. That film, watched in small red cushioned seats, under the flicker of a projector whispering surreal images was writer and director Josephine Decker‘s Madeline’s Madeline. The film, most knew little about, other than a young actress had made a fiery debut in it. In the vintage walls of Chicago’s Music Theater, a midnight film played at the Chicago Critics Film Festival.
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