Cordelia Review: Psychological Thriller Suffers From An Identity Crisis
Remember the movie poster of a woman pushing a man up against a wall, pressing into his back with her mouth on his ear? Yes? Well, the movie, Cordelia, is finally releasing stateside, and well, it is not exactly what one might have expected from that sultry poster. The poster, which took off on social media and started an art campaign with people recreating the pose with their favorite romantic pairings, promised a version of Cordelia that could have been. The final cut of the film is a profoundly intriguing psychological thriller, but the possibility of a slightly more erotic psychological thriller in the vein of Fatal Attraction was tantalizingly close to being realized.
Co-written by director Adrian Shergold and Campbell-Hughes, Cordelia follows a troubled woman (Antonia Campbell-Hughes) suffering from a traumatic event that derailed her life. Cordelia attempts to reclaim her power and overcome the stress, anxiety, and trauma of surviving a tragic event. She is acting in a play and becoming attracted to Frank (Johnny Flynn), the cello player who lives in the apartment above her. Amid her recovery, hope is renewed with a possible romance, only for that hope to be fleeting after certain revelations occur in the second and third acts. One weekend her twin sister Caroline (also Campbell-Hughes) leaves on a trip with her boyfriend, leaving Cordelia to fend for herself. At the precipice of a new chapter of her life, Cordelia finds herself questioning everything when someone starts taunting her with prank calls.
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The build-up to the iconic moment with Campbell-Hughes pushing Flynn up against the wall is a slow-burn, yet effectively alluring one. Bit by bit, the atmosphere is
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