Gone Girl

Gone Girl ★★★★

“We’re so cute. I wanna punch us in the face”

Yeah, that was really… Cute. In all seriousness, David Fincher does begin his thriller by painting up an interesting glossy image of the relationship between Amy (Rosamund Pike) and Nick (Ben Affleck) in a way that at first seem a bit too shiny to be believable – only to be overthrown as the film start to question who’s controlling the narrative. The story – adapted from Gillian Flynn’s novel – hits the viewers with several curve-balls of powerful turns to the story throughout, even if the film has put out enough hints after just 40 minutes.

Which is fine, because the twists are only part of the brilliance in the plot of Gone Girl. Through hints of misogyny and injustice, contrasting experiences of marriage and by focusing on expectations of genders as well as heterosexual relations – the thriller becomes a constant play with the roles of gender. Gone Girl toys with the crazy-girlfriend-idea to instead become a triumphant battle against a gender-role and the ambiguity in the film allows it to be read as feministic as well as misogynistic – constantly balancing on a thin line, but still sharp enough in its gender-reversals.

A few of the side-characters feel a bit too flat and some of the character-motivations get occasionally blurry – but Gone Girl keeps its tension well after the big twist through varied character-focus and constantly questioning out perceived notions of marriage and gender.

As a thriller, it’s a solid and decent one. But as a subtextual flora of elements such as media coverage, the expectations of women, traditional marriage and whatever else you’d like to read into it – Gone Girl becomes something much more. Oh, and Rosamund Pike is absolutely brilliant as one of the best characters of 2014.

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