Do critics matter? This is a question that has been asked in some form for about as long as art has been produced. The extent to which we have asked whether a work exist entirely objectively, without the interference of supposed experts in artistic analysis giving their opinion and determining whether something is a success or not is staggering, but not entirely baseless. Without getting into a deep and unending discussion on the role criticism plays in the production of art, and whether it is useful, we can easily note that it’s not an easy question to answer, but its certainly one that Malcolm & Marie dares to ask. This is a film that goes for the jugular in terms of looking at the intersections between creation and criticism, and while it may take a very cutthroat approach to the role commentators play in the evaluation of art, it would take someone with an enormous amount of insecurities to simply reduce Sam Levinson’s fascinating, provocative drama to simple “critic bashing”, as often tends to be the case whenever an artist dares to imply that those who write or analyse art are somehow less important, or not on equal footing, to those creating it. These are conflicting art-forms in their own way, and Levinson makes some excellent points – but less than being a work that dares to give critics a taste of their own medicine by eviscerating their craft, and more one that intent on inciting a fascinating conversation, Malcolm & Marie is a triumph. In going beyond the simple premise of being about how we understand and consume art, and transforming into a striking character-driven drama, the film becomes a scathing, satirical comment not only on the artistic process, but also on human relationships and the myriad of obstacles we tend to face, and our varying methods in surmounting them, which tends to be a lot easier in theory than in execution, as evident by this film in particular.

Something that is considered a nearly universal phenomenon is that crises tend to produce some of the best art. Countless magnificent works of literature have been produced as a result of war or suffering of some kind, whether being made concurrently to these events, or as a first-hand response to them. Malcolm & Marie was produced in a very different kind of crisis, namely a global pandemic – and regardless of the specific qualities of the film, it’ll always be able to confidently state that it was the first (of hopefully very few) films produced during the COVID-19 era. Written and filmed entirely within a few months during the virus’ highest peak, the film is a magnificent portrayal of the tenacity that can come when an artist surrenders to their tenacity and uses a bad situation as the impetus to create something that will last a lifetime and leave a legacy, even if it is only as a trivial footnote in retrospect. Not quite a film about the pandemic, rather one that occurred alongside it, Malcolm & Marie is free of much of the meandering commentary on what it is like to experience such a catastrophic event that we’re bound to see in later productions made during this time. Commenting on the specific constraints associated with this film isn’t arbitrary, nor is it some attempt to garner sympathy for those involved in its creation – instead, it’s a rousing call to celebrate what can be done with the right mindset, and how resourcefulness can easily overcome some of the most troubling global issues when it comes to art. Levinson, who isn’t yet an established directorial voice in film yet, clearly had some fantastic ideas, which he weaves beautifully into the fabric of this film, creating something that we can marvel at in terms of the limited resources it was working with, and look at as something that not only exists for the sake of seeing if it could be done, but also as a film with a message, which is disseminated with consistency and commitment to a premise that may not be entirely ambitious, but certainly has a charm about it that keeps us engaged and interested in where it’s taking us.

Malcolm & Marie seems to be a throwback to a very particular era in filmmaking, where all a director needed to make something memorable was a space to film and a few strong actors that could convincingly hold our attention. It goes without saying that the success of films like these resides with the screenplay, and Levinson (who is inarguably a better visual stylist than storyteller) does very well in putting together something that feels genuine without sinking away into a kind of social realism that doesn’t quite fit with the intentions here. Taking the appearance of a stage play insofar as it only has two characters and is set in a single location, the film is a very bare and simple production that doesn’t have much in terms of resources – but using the constraints of the global situation, it makes perfect sense that the director would want to capitalize on the idea that most of us spent a majority of the past year shut inside our homes, which may mean that Malcolm & Marie is too close to comfort (I’ll avoid saying it hits too close to home, because that’d be dreadfully cliched), but that it does hearken back to a distinct time when independent filmmaking didn’t just refer to smaller budgets, but rather to non-existent resources that forced limitations that set the foundation for the majority of later works that employed more simple approaches to their filmmaking. Having the appearance of the likes of Jim Jarmusch, whose films often focused on hyper-realistic conversations that blurred the boundaries between fiction and reality, and Shirley Clarke, who would provoke some very serious discussions through her unforgettable documentaries (Portrait of Jason must have been a clear influence on this film, since the hostilities and discourse incited throughout are comparable to the dark turn Clarke’s conversation with Jason L. Holliday, another artist who rallied against the idea of critiquing one’s craft), and some early Spike Lee thrown in for good measure, Malcolm & Marie is a film that has some clear influences embedded in it. However, it’s not so much a case of Levinson wanting to parrot other directors as it is him paying tribute to them, both in the way they made their films, and the varying messages they conveyed, which makes for compelling viewing that is only enriched by the fact that he doesn’t deviate from making his sources known.

It is almost an enormous benefit that Levinson cast two incredibly gifted actors in the titular roles. As the filmmaker who is on the verge of a breakthrough, but who hides his insecurities behind a cocksure persona, John David Washington is exceptional. His style is very measured and precise, and it came sometimes come across stunted – yet, this aspect of her personality is exploited very well here, used as a tool in the creation of Malcolm as a man who isn’t quite sure of his place in the world, but will fight tooth and nail until he finds it. Conversely, the beguiling Zendaya is his scene-partner, matching him beat-for-beat as his girlfriend who has suffered enough from the mental and emotional abuse that comes from living with a man who expresses his artistic frustrations in disconcerting ways. Zendaya gradually takes over the film, her blend of nuanced charisma and biting sarcasm going far in positioning Marie as an extremely complex character, and not just the long-suffering emotional attachment to an artist who refuses to pay attention to anyone other than himself. The chemistry between the two leads is absolutely palpable, and their performances are driven by all kinds of passion, whether that be romantic passion (and Levinson lets us into their world without inciting a sensation of voyeurism), or the kind more associated with negative emotions, creating two hours of unforgettable drama, where the two actors play off each other exceptionally well and find new ways to express themselves while still showing an enormous amount of restraint, which speaks to their undying devotion to a pair of roles that could’ve just as easily have been hackneyed, thinly-veiled stereotypes that served a specific function without leaving much of an impression. Their performances are very strong, and it’s difficult to see them not continue on this path to becoming some of the most interesting young actors working today – and ultimately, if they could convincingly play these roles, without anything other than the script, the set and the actor before them, and still make us genuinely believe in what they’re saying, then they’ve immediately achieved something special.

Despite the clear intentions he had in making Malcolm & Marie, Levinson is not making it solely a self-indulgent piece, refusing to make it solely about himself. It’s difficult to perceive this as anything other than an attempt to see if such a film was actually possible – funding and producing an entire film during a global crisis may appear strange, but art is borne out of such situations, and it could’ve been so much more disconcerting had it not taken some very clear steps to being more than just an artistic experiment. Filmed in complete secrecy, with the first news to come out about it being that it was in the process of being completed, there is a genuine resonance to what Levinson is doing with this story. Perhaps the idea of two people working through their broken relationship being contrasted with a narrative framework centred around film criticism seems like an easy way to write a script – after all, there are large portions of the film that see the actors engaged in passionate monologues (one done by Washington in particular stands out, whereby he lists a dozen names of filmmakers and their contribution to society, commenting on individuality in artistic expression) – but it doesn’t invalidate the more subversive aspects of the film, whereby the dynamic between the two leads gradually starts to take over, leaving the more inconsequential conversations off to the side, rather than abandoning them, as the film does refer back to them constantly, giving it a further sense of authenticity, since conversations threads aren’t abandoned for the sake of new discussion points, but rather ebb and flow into the orbit of the discussion, which is essentially a single conversation taking place over a few hours. The rhythm and pattern employed in the creation of the film keeps it moving steadily, engaging us as viewers and impelling us to look for the smallest details, since these tend to have the most notable influence on our perception of these ideas. 

There’s a level of realism in this approach, a simplicity that is immediately striking and worth mentioning, since there is nowhere to hide in this film – two actors and a script are all they had to work with, but through the sheer willpower of just getting it down, regardless of the final product, makes Malcolm & Marie something immediately worth watching. It’s not the most perfectly-written film, nor is it one that professes to be the final, definitive word on any of its concepts – but what it is means more, whereby we’re introduced to these characters who are representations of real people, and through the course of a series of discussions, they reveal their inner quandaries, but also comment on a wider set of issues relating to the world around them. It doesn’t execute it flawlessly, but the fact that it managed to still overcome some clear obstacles and deliver an insightful, funny film that touches on a number of important issues, ranging from the artistic process to the role of women in the culture, to more intimate concepts such as sexuality and infidelity, there is an enormous amount of detail that went into every moment of this film. It gradually builds to a striking crescendo, and then slowly anchors itself into a recognizable version of reality. Aided by two incredible actors, and told with heart and sincerity that adds depth but never nullifies the acidic edge of the film, Malcolm & Marie is an absolutely essential film, and one that dares to go beyond what we’d expect, resulting in an enigmatic, character-driven drama that takes on many complex ideas, and emerges triumphant as a work of poignant independence. Much like his actors, Levinson has a bright career ahead of him, and if he keeps working on projects like Malcolm & Marie and Euphoria, challenging works that take on some wildly intimidating issues, it’s difficult to see him not becoming an essential young voice in contemporary cinema.