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'The White Lotus' Season 3, Episode 5 recap: Tim in the corner (of despair), finding his religion

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'The White Lotus' Season 3, Episode 5 recap: Tim in the corner (of despair), finding his religion

“The White Lotus,” Mike White’s black comedy anthology series, is back on HBO for a third season. Times staffers love an escape, but since we can’t take a trip to Thailand to stay at a luxury resort, the next best thing is to immerse ourselves in the new season. Follow along with us for each episode as we discuss theories, observations and our favorite moments leading up to the finale. (Read our recaps: Episode 1, Episode 2, Episode 3 and Episode 4.)

It’s a full moon over on “The White Lotus” and several characters are grappling with their awakening, spiritual or otherwise.

Things begin with Gaitok (Tayme Thapthimthong), who after frantically poring over security camera footage for the missing handgun, concludes it’s Tim (Jason Isaacs) who swiped it. But his attempts to confront Duke’s finest white collar bandit are fumbled — Gaitok leaves the security kiosk unattended (again) and gets distracted by Mook (Lalisa Manobal) as she performs a traditional dance. (Gaitok, sweetie, a promotion is never going to happen this way!) When he does approach Tim in the bathroom, Gaitok lacks the imposing demeanor to intimidate him into fessing up to the theft, let alone returning the gun.

Victoria (Parker Posey), on the other hand, is concerned with a bullet that’s been fired at dinner. Piper (Sarah Catherine Hook) finally tells her parents the real intention for the trip was to check out a Buddhist meditation center she plans to join for a year. Tim is in a fog of lorazepam and dread, so the news barely registers, but its a SOO-NAH-ME of emotions for Victoria, who, unlike her husband, can’t temper her reaction with pills. It leads to another Grade A unchristian-like meltdown from the matriarch who is convinced the center could be a sex cult — ala NXIVM — and is not impressed that the monk who runs it has authored books: “So, Charles Manson wrote books! Bill Clinton wrote books. The list goes on. Hillary Clinton wrote five books … Look at the Catholics! Organized religion and deviant sex can go hand in hand.”

The other Ratliff members — Saxon (Patrick Schwarzenegger) and the little magician (aka Lochy, played by Sam Nivola) — are chasing their own highs, with blender boy trying to hype his younger brother into some escapades with their female companions. Chloe tries to gauge Chelsea’s willingness to cheat on their respective bald(ing) white guys, but Chelsea scoffs at the idea. Chloe isn’t so opposed, even while eerily acknowledging: “Gary might kill me. I honestly think he’s capable of it.” The foursome wind up high on some happy pills that, before long, results in an incestuous smooch that seemingly leaves Lochy in a state of content and Saxon … well, it’s hard to ever know what’s going on in that head.

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As Chelsea processes the sibling make-out sesh, Rick (Walton Goggins) is in Bangkok on his quest to avenge his father’s murder. He first meets up with a mysterious pal (Sam Rockwell) — maybe its Frank? — for an incredibly head-spinning catch-up session that touches on his sobriety, sexuality and spirituality. It leaves Rick flummoxed but he also can’t dwell on it too long because he needs another favor from this nameless friend, who brought a duffle bag full of items (a gun, among its contents) at Rick’s request as he carries out his plan.

Elsewhere, seeking their own wild adventures far away from the water guns and AARP crowd, Jaclyn (Michelle Monaghan), Kate (Leslie Bibb) and Laurie (Carrie Coon) are on the loose with Val (Arnas Fedaravičius) and his Russian besties at a night club, making small talk about ballet and dead parents. After a good stretch of dancing and drinking, the Super Soaked Trio decide to head back to their villa. Jaclyn suggests the men join them, much to the dismay of our bob-haired Independent voter. Once the rollicking at their villa’s pool is over and everyone turns in for the night, Jaclyn reaches out to Val — despite her endless pushing for Laurie to pursue him — for a luxury resort booty call. Jaclyn’s not alone in her late night rendezvous. When Belinda (Natasha Rothwell) learns from hotel manager Fabian (Christian Friedel) that Greg/Gary (Jon Gries) has been inquiring about her, she worries she’s in danger. Pornchai (Dom Hetrakul) promises to keep her safe and lands in her bed in the process.

But distress was all Tim was experiencing in his corner of the White Lotus. Feeling the full weight of his situation, the former altar boy scrawls a short letter to his family — “I’m so sorry. I love you all.” — just before raising the handgun to his temple. But as a sleepy Victoria shuffles in, his plan is diverted. The episode closes out with Tim calling to a higher power: “Oh, please, God. Please. Tell me what to do.”

Now it’s time for Greg Braxton and Yvonne Villarreal, platinum-status members of “The White Lotus” frequent guest program, to break it all down. They’re joined by new charter member, Mary McNamara, who will ride out the rest of this season’s voyage.

Belinda (Natasha Rothwell) is on edge, but Pornchai comes to the rescue.

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(Fabio Lovino/HBO)

Who do we think is the corpse this week? Does the gun in Rick’s possession change things?

McNamara: There were a lot of seemingly random shots in the opening scene, far too many for one handgun so it is possible that Rick’s gun makes it back to the hotel. The corpse in question appears to have dark hair and be dressed in gray or light blue. Zion flees from it, so it’s not Belinda. Tim has been rocking a lot of pastels (Isaacs in crisp linen is a high point of the series) and there would be irony in him contemplating suicide only to die in another way. But now I very much fear that it’s Pornchai; Belinda deserves a kind lover but this series is not big on happy endings. Either way, my scene-one theory remains fixed: Somehow a monkey gets hold of a gun (so many random shots) and some bright person (Gaitok?) is trying to play cowboy and shoot it. Result: mayhem.

Braxton: Although I had previously speculated that Chelsea was doomed because she felt she had cheated death twice during this vacation, I’m going to take a knee on any further predictions for now. In the previous two seasons, the victims seem to have been people who had made very poor choices which put them on a path to destruction. And almost every character in this episode makes some very, very horrible choices, so the field is wide open. Karma is coming.

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Villarreal: I, too, have wondered if one of our monkey friends could be the gunslinger responsible for the shootout in the season’s opening scene. But I still think the floating corpse met death another way. I’m growing more suspicious of Saxon’s blender. Maybe someone whipped up a smoothie with the poisonous fruit to avoid detection? But I am also stuck on Victoria’s dependency on lorazepam and her mention of grand mal seizures. Could her withdrawal lead to her death?

Do you think Tim would feel this doomed about his involvement in a white-collar crime in 2025? What kind of life could the Ratliffs set up in Thailand if they never went back home?

McNamara: The fact that he’s so rattled leads me to believe he does not regularly commit fraud — he does not appear well lawyered-up — so yeah, maybe. If this were not “The White Lotus,” I would say Tim, and potentially the whole family, would join Piper on her monastic quest. But it is, so at this point, I’m assuming that Tim will somehow get away with whatever he’s done and they’ll all return home. Including Piper.

Braxton: Tim hit bottom at hyper-speed. It’s only been what, a couple of days at a lavish resort, and he’s gone from agreeable man on vacation to drug addiction to putting a gun to his head?

Villarreal: After last week’s episode and Victoria’s observation that the yacht was full of scammers and tax cheats — as her husband sat next to her, no less — it certainly feels like Piper’s grand plan to live in Thailand is signaling an extended family stay. Saxon will adjust to life fine if his blender is nearby. And Lochlan will be fine if Saxon is nearby. (Please don’t mistake my sarcasm for encouraging incest!) Tim can be some kind of boatie. Victoria would need to get her prescription refilled to keep her functioning in this setting for a prolonged time. I would demand a spin-off to see how this plays out. What if Victoria reaches enlightenment and helps that monk write a book?

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What’s your read on Jaclyn’s behavior? Is it a midlife crisis?

McNamara: I don’t love the “forty-something actress needs to prove she’s still hot” storyline (possibly because we OD’d on it with “The Substance”), but I do like the simmering high-school tensions between the three women because high school is forever. One of my favorite images from this episode is Kate, sober in her jammies but trying to appear game while Jaclyn and Laurie cavort with the Russians before finally calling “bedtime.” I feel you, Kate!

Braxton: Both Jaclyn and Chelsea seem to crave validation from men for them to feel good about themselves, which is not terribly progressive. Chelsea is miserable without Rick, who is not nice to her, while Jaclyn is frustrated that she can’t get a call back from her significant other. They could both use a talking-to from Piper, who is trying to get to the essence of her identity without male validation. But in the end, what happens at the White Lotus stays at the White Lotus.

Villarreal: As someone who feels like I’ve been slapped by Mother Time when I learn someone was born in the 2000s, I get it. And, sure, the pressure is heightened for someone like Jaclyn because her job as an actress is to look young and glamorous. Plus, her younger hot husband is leaving her on read. It’s just funny to me that the woman who is lugging a ludicrously capacious Erewhon tote bag — by the way, that detail led me down this rabbit hole — to a nightclub is spiraling this much on vacation over that.

A woman with blonde wavy hair looks over her shoulder on the dancefloor of a club.

Jaclyn (Michelle Monaghan) takes the party home from the club.

(Fabio Lovino/HBO)

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What do you make of the story Rick’s friend shared over chamomile tea? And how are you feeling about the addition of Rockwell to the cast?

McNamara: I have watched that scene like four times because it is such an off-the-chain exploration of privilege, not to mention addiction, and a master class in acting. Rockwell deserves an Emmy for best delivery of most bizarre over-drinks-catch-up in the history of television. Here’s hoping his character makes his way to the White Lotus (to maybe hook up with real-life wife Bibb?), in which case, I might have to ditch my “monkey with a gun” theory. Or not.

Braxton: Off the chain? In a season that has already highlighted jaw-dropping moments like Tim’s accidental “package” reveal, that whole sequence seemed so abruptly dark and extreme. I felt I was watching a different show. Hopefully there is a point to that interaction other than shock value and Rick reacting in slack-jawed silence. If I had been reconnecting over drinks with a friend I hadn’t seen in awhile, and he lays down a story out of the blue with the detail of how he’s hiring a strange woman watch him have drug-fueled bizarro sex, punctuated with the line, “I am her, and I’m f— me,” I would not be happy having that visual in my head. Not your usual, “I’m having a drink with the guys.” At that point, it would have been “Waiter, check!” or “Could I have another, and make it a double? Forget that. Just bring the bottle!” It’s a lot.

Villarreal: I immediately messaged our editor and told her it felt like I watched an entire season of “Severance” in that one scene. “White Lotus” is all about exaggerated stereotypes and cultural conflicts and prejudices. And this reveal from Rockwell’s character, which touched on his experience with kathoey, Thailand’s ladyboys, who have long been part of the country’s cultural landscape, as a privileged westerner grappling with existential sexual curiosity and identity (or is he?) left a striking impression — as it was undoubtedly meant to do. The pairing of Rockwell and Goggins, simply sipping on scotch and chamomile tea as it all unfolded, was stunning to watch.

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Do you think Chloe knows more than we suspect about Greg/Gary? And why would Fabian downplay Belinda’s concerns about him?

McNamara: Well, she obviously knows enough to be a bit afraid of him, but not enough to, you know, get the hell out. Fabian remains a conundrum — is he just a “don’t rock the boat” ladder-climber or is it more sinister? I still find it hard to believe that no one at this White Lotus knows about Tanya’s death, or Gary’s potential involvement. I feel like there would have been a corporate seminar or at least a memo.

Braxton: I’m still trying to figure out why Chloe and Gary/Greg are hanging out at the White Lotus when he has a fabulous house? And why the massive yacht since they apparently have no one to hang out with other than strangers from the resort. As for Fabian, he does not strike me as the sharpest knife in the drawer. And is Belinda really that scared of Gary/Greg, or did she just want to find a clever excuse to get Pornchai into bed with her?

Villarreal: Greg, to your point, I feel like Greg/Gary may be some sort of secret investor in the White Lotus — because you’ll remember when that one retiree that repulsed Jaclyn at the other pool, she claimed she couldn’t get access to the White Lotus pool because she wasn’t a guest. If Gary/Greg isn’t a guest either, there has to be a reason they let him in … and maybe why Fabian is reluctant to assist Belinda in her suspicions about him? Or maybe he’s been given consolation vouchers after the death of Tanya? I don’t know how much Chloe knows about Greg/Gary’s past misdeeds, but I wonder if she’s clued in on his current plan and that’s where this awareness comes from? Are they scoping out the place, with Chloe always there to figure out its weak spots (Gaitok!) so they know where to make their grand move? It’s really getting hard carrying all these questions in my brain.

Is Gaitok more likely to get a promotion, land a date with Mook or die?

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McNamara: Gaitok is absolutely the worst security guard ever. Despite the earlier robbery, he repeatedly abandons his post, not to mention leaving a loaded handgun out in the open. And then, when Tim stonewalls him about stealing a gun, Gaitok doesn’t respond with the obvious “dude, there’s video.” He just backs off. I mean, come on. Does he want blood on his hands? He doesn’t deserve any of these things but since “The White Lotus” is more about underlining injustice than resolving it, he might wind up achieving all three.

Braxton: Gaitok will wind up alone and working at the snake shop, driving snake-bitten customers to the hospital.

Villarreal: I need Gaitok to watch “Paul Blart: Mall Cop” to hype himself up in this role. The promotion will never happen. I can see him landing a date with Mook, only because it’ll be part of whatever grand plan she may be involved in. Because of the lack of screen time for Manobal, the Blackpink K-Pop singer and one of the most famous people in the world, it must mean there’s something up her sleeve that will reveal itself soon enough.

Two young men stand with small buckets on their wrists and smile at one another.

The Ratliff brothers (Sam Nivola, Patrick Schwarzenegger) get a little too close for comfort.

(Fabio Lovino/HBO)

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Do you think the Internet will be OK after the brother smooch?

McNamara: Um, no. The ick factor between the siblings has been pretty high already. It’s easy to hate Saxon and love Loch but something about their opposing swagger and innocence spells trauma to me. I’d say everyone needs to stay away from Chloe, who clearly thrives on stirring up trouble, but it’s obviously too late.

Braxton: It was a riff on “Challengers.” Almost expected Zendaya to show up.

Villarreal: I’m scared and I’m scarred.

Who gets your Best Facial Expression award this week?

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McNamara: Rick, during his friend’s insane sexual identity story. Frozen panic struggling with non-judgmental empathy. I would give anything to see all the takes from that scene.

Braxton: Jaclyn’s wide-eyed “I just hit the lottery” amazement lying in bed after Val unveils his six-pack abs.

Villarreal: I’m with Mary. I felt like I was looking in the mirror when the camera panned to the evolution of Rick’s reactions to his friend’s story. The shift in his delivery of “really?” over a five-second span was perfection.

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Movie Reviews

Movie review: Supergirl is a blast

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Movie review: Supergirl is a blast

Last year’s “Superman” ended with Iggy Pop singing “Because I’m a punk rocker, yes I am” — an ironic coda for a superlatively square hero. But it rings straightforwardly true for Superman’s cousin.

Milly Alcock’s Kara Zor-El, or Supergirl, sports not a spandex suit but a Blondie T-shirt. When we meet her in Craig Gillespie’s “Supergirl,” she’s been on an interstellar bender for days. She’s more Courtney Love than Clark Kent.

Nonchalant and sarcastic, Kara is also a little Han Solo-ish, you might say, given that she moves capriciously through the galaxy in her junky spaceship while getting in fights in extraterrestrial bars. She’s a welcome, jagged riff on more buttoned-up superheroes, and Alcock is terrific in the role. If only “Supergirl” was as good as she is.

While the latest DC release, and second under James Gunn’s stewardship, has its moments, “Supergirl” struggles to match Kara’s punk-rock energy with an equally spirited supporting cast and story.

Skepticism seems to have gathered for “Supergirl” ahead of its release. Many fans have argued it wasn’t the right next step for DC Universe. But I’m not so sure. Alcock’s breezy cameo in “Superman” was one of that movie’s highlights. Handing the follow-up to her, and her faithful floating dog Krypto, strikes me as an extremely natural next step. When in doubt, follow the dog.

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And much of “Supergirl” is winning. It resides almost entirely in space, touching down only momentarily on Earth. In its consistently creative production design, clever needle drops and underdog story arc, “Supergirl” resides a little closer to Gunn’s “Guardians of the Galaxy” movies than other DC entries. Its outer space is filled with cosmic detritus, mean characters and cute critters. Seth Rogen as the voice of a tiny alien co-piloting a space bus is an inspired concoction, as is a shabbier sci-fi realm with rest stops along the intergalactic highway.

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Justin Baldoni and wife break silence after ‘It Ends With Us’ legal battle with Blake Lively

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Justin Baldoni and wife break silence after ‘It Ends With Us’ legal battle with Blake Lively

Justin Baldoni has broken his silence after reaching a settlement in a lengthy and highly publicized legal dispute with Blake Lively.

Baldoni and his wife, Emily Baldoni, presented a united front in an Instagram video the couple shared Wednesday that began, “So we have not spoken publicly for the better part of the last two years, and it’s not because we haven’t had anything to say, because Lord knows we have.”

The “It Ends With Us” actor and director said that although they’d wanted to address the debacle that involved dueling lawsuits with Lively, nearly two years of tit-for-tat fodder and culminated in a confidential settlement, “something was telling us not to.”

The couple said they prayed about when to make a public statement. “This feels like the moment,” Emily said.

“What does feel important,” she continued, “is that we can genuinely say that we are sitting here today feeling immense gratitude for so many things and so many people and so many things that have happened to us.”

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“Gratitude has saved us,” Justin added.

“I also feel that it’s important as we say that — in that gratitude — it doesn’t negate the injustice and the pain that we have also felt in the last few years, and we’ve had to wrestle with so many things and try to understand so many things,” Emily said. “How could something like this even happen? Let alone disguised as a fight for women. So much to unpack. And the truth is, reality is, is that there’s been a lot of trauma for us to move through as a family, which also makes it hard to speak.”

“We don’t even know this is the right thing to say, but we just know we need to share something,” Justin said. “What I will say is that there have been so many painful things that have been spoken into existence — “

“Untruthful,” Emily broke in.

“We didn’t want to add to the noise, so we just wanted to let the justice system run its course,” he said.

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“And the truth and the facts have spoken for themselves,” Emily said.

The couple’s statement comes a year and a half after Lively filed a bombshell lawsuit against Baldoni alleging sexual harassment, retaliation and several other charges on the heels of a messy “It Ends With Us” summer release and press tour that fueled rumors of on-set turmoil.

Less than a month after the allegations against Baldoni rallied Hollywood against him, he countersued Lively, her publicist Leslie Sloane and her husband, Ryan Reynolds, for $400 million in damages, claiming they’d smeared his name in the press and wrestled away his control of the film. His suit was later dismissed.

In May, two weeks ahead of the trial, Lively and Baldoni reached an agreement to resolve their legal dispute, bringing an abrupt end to the contentious battle.

“The parties in the Blake Lively and Wayfarer Studios litigation have reached an agreement to resolve the matters,” lawyers for both sides said in a joint statement.

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“The end product — the movie ‘It Ends With Us’ — is a source of pride to all of us who worked to bring it to life. Raising awareness, and making a meaningful impact in the lives of domestic violence survivors — and all survivors — is a goal that we stand behind. We acknowledge the process presented challenges and recognize concerns raised by Ms. Lively deserved to be heard. We remain firmly committed to workplaces free of improprieties and unproductive environments. It is our sincere hope that this brings closure and allows all involved to move forward constructively and in peace, including a respectful environment online.”

In June, a federal judge ordered Baldoni and his production company to pay Lively’s attorney fees related to his unsuccessful defamation lawsuit against her, but rejected her bid for additional damages.

“So, how are we doing?” the filmmaker said in the Instagram video. “We are healing, and if you’ve ever been through something traumatic, you know that healing isn’t linear. It lives different every day, and we have had to rethink for ourselves what is real. What matters, and it’s this. It’s our family. It’s our friends. It’s our community. It’s our faith.”

Times staff writer Josh Rottenberg contributed to this report.

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‘The Guest’ Review: Trine Dyrholm Gives a Scorcher of a Performance in a Gutsy Danish Party-Gone-Wrong Drama

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‘The Guest’ Review: Trine Dyrholm Gives a Scorcher of a Performance in a Gutsy Danish Party-Gone-Wrong Drama

A family and friends gather for a naming-day ceremony at a Danish seaside hotel, but an unexpected appearance by one uninvited attendee (Trine Dyrholm) ruptures the veil of bland, happy-clappy familial unity in director Mads Mengel’s gutsy, well-wrought debut feature, The Guest.

The most audacious move here may be Mengel and co-screenwriter Christian Bengtson’s choice to write something that will inevitably invite comparisons with Festen (The Celebration), arguably the most notorious Danish-language film of the last 30 years, which similarly revolved around a bougie gathering disrupted by angry revelations. But there’s a savvy 2026 vibe about the way the film refuses to create florid melodrama out of quotidian crisis, and instead observes with generosity as the characters grope awkwardly toward emotional détente and mutual forgiveness.

The Guest

The Bottom Line

When wetting the baby’s head goes too far.

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Venue: Karlovy Vary Film Festival
Cast: Simon Bennebjerg, Trine Dyrholm, Josephine Park, Peter Gantzler, Petrine Agger, Mette Klakstein Wiberg, Kristine Kujath Thorp, Buster Lund Luscher
Director: Mads Mengel
Screenwriter: Christian Bengtson, Mads Mengel

1 hour 40 minutes

Festen-alumnus Dyrholm, having a bit of a career moment with outstanding performances both here and in the recent The Girl With the Needle among others, leads a uniformly excellent cast in a work that deserves celebration on the festival circuit and beyond.

Dyrholm’s Vibeke is technically the first person we meet, although she’s seen only in shadow at first as she smokes and drives while her unattached seatbelt, caught outside by a closed door, clatters on the road. This is the kind of unsafe driving her son Karl (Simon Bennebjerg) so deplores, a point of contention later on in the story when he will steal her car keys in interest of her own safety and that of others.

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But well before we get to that flashpoint, the film introduces Karl, effectively the film’s protagonist, as he arrives at the swanky resort with his wife Emilie (Mette Klakstein Wiberg) and their infant son Elliot (Buster Lund Luscher). The young family, who’ve chosen this new, secular tradition instead of a christening to welcome their child to the world, are there a day before the ceremony to meet up with core family members.

As this advance party settles down for dinner, a table that includes Karl’s sister Rikke (Josephine Park) and Emilie’s parents Frank (Peter Gantzler) and Kirsten (Petrine Agger), there’s a surprise: Vibeke is coming, courtesy of Rikke’s invitation. Karl is quietly furious and seems determined to turn her away, even when she shows up minutes later. Poor Frank and Kirsten look on confused, determinedly polite in their insistence that all family members should be welcome.

Bengtson and Mengel’s economical script carefully dripfeeds backstory as the film unfolds to explain that Karl hasn’t spoken to his mother in years, that Rikke has taken over all the daily mom management and that she’s very worn out by it. Even so, she insists Vibeke is regularly taking her medication and isn’t a problem these days, although to Karl every weird anecdote and moment of emotional intensity is an augur of impending chaos. Rikke counters that their mother is just “big, that’s her personality not her condition.”

Interestingly, that specific condition is never named throughout, although armchair diagnosticians might spot many of the signs of bipolar disorder. But the film’s emotional focus on the person and her actions rather than the label is also very contemporary, reflecting a more holistic, inclusive mindset and approach to dealing with mental health issues.

Which is all fine and dandy, until Vibeke duly does skip a dosage and starts getting manic. One of the first signs of chemical imbalance arrives during the ceremony on the beach, when Vibeke carries little Elliot much further away from the shore than anyone wants, creating a panic. From there it just gets worse as Vibeke picks up on the censorious feeling emerging from the other party guests, who had found her so charming the night before when she’d led everyone to the casino to play roulette and diverted a bunch of partying teenagers from the room next to Karl and Emilie so they could get some sleep. When the toasts at the formal dinner begin, Vibeke’s mood darkens much further, and if we’ve all learned one thing from Festen, it’s be very afraid when a Dane gets up to make a toast.

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Cinematographer David Bauer’s nimble-footed lensing and use of natural light does indeed hark back considerably to the look of those Dogme 95 movies back in the day, as does the naturalistic editing style deployed by Louis Emil Ramm Seeberg. But there are plenty of sins against the rules of cinematic chastity that marked that movement, such as the ample space made for Lasse Aagaard’s affecting, low-key score that amps up the anxiety as Vibeke starts to spiral.

That said, Mengel keeps things simple in sonic terms when it really counts, letting the musicality of Dyrholm’s deep, sonorous voice ring out on its own in the big monologue scenes. She is, as ever, utterly mesmerizing but the performance is made even more powerful by the muted, expressive reactions of the rest of the cast as they look on, frozen like deer in the headlights of the car crash of pseudo-christening. Moments of levity puncture the gloom, but the final feeling is one of numbed sorrow and pity for all these kind, fallible people, just trying to do their best.

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