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From New Yorker

From Vox

Outside of the film, it’s easy to be aghast by this clip. Inside of the film, this moment shatters the idea of “younger boy pursuing an older woman” as a legitimate narrative. “You seduced me,” Gracie tells Joe with complete confidence. It’s terrifying how effortless Moore makes playing a fictional Letourneau seem.

But the film isn’t really that interested in condemning Gracie — what would be the point? Instead, its sharpest castigation rests with Elizabeth. In a single role, she is able to embody the amoral self-interest of the tabloids, Hollywood, the public who consumed the story as entertainment, and everyone around Fualaau who left him to his fate.

We might ask whether Haynes himself is part of that web of exploitation — after all, isn’t May December a coy treatment of a scandal?

Yes and no. One function of the film’s funnier moments is to allow the audience its share of nervous laughter, an exhalation amid our escalating discomfort. If May December were less self-aware, it might belong in the category of camp or failed melodrama; if it were less earnest, it might earn the title of tongue-in-cheek satire. But ultimately, the movie’s discordant aesthetic isn’t coy. It’s about revealing the nightmarish circus that Joe has survived with quiet resilience.

And it’s about us: The circus attendees, arriving with popcorn — prepared to laugh, when perhaps we should be in mourning.

From The Hindu: Sports

From The Hindu: National News

From BBC: Europe

From Ars Technica

From Jokes Subreddit