Clarissa

Matt Neglia4.0

CLARISSA is as exquisite as they come. A lyrical reimagining of Virginia Woolf’s 1925 novel “Mrs Dalloway,” repositioned to Lagos, Nigeria to talk about themes of colonialism and class, this is how you do an adaptation: honoring the spirit of the source material while infusing it with such a distinct and personal perspective that it feels entirely new. The younger and older ensembles are cast so perfectly it’s nearly impossible to single anyone out when every performance is this strong. Passionately told and gorgeously shot on 35mm, this is the kind of film where every frame feels like immense care was poured into making something both thematically rich and emotionally cathartic.

shookone1.0

given the source material you should either not dare to touch this, or go full blown experimental with it, there's no in between. this type of dull, tame, conventional friday afternoon tea time & granny cake cinema - whose only accomplishment is that it transponds the story from 1920s Britain to 2020s Nigeria - is simply an insult to anything trying to lift up the particular artform.~ Hamburg 34 ~

Robert Daniels4.5

Clarissa, Arie and Chuko Esiri’s second feature, is a boldly executed and eloquent reimagining of Virginia Woolf’s landmark novel that pushes her critiques of colonialism, class and isolation with renewed fervor. An adaptation of Mrs. Dalloway, the film stars Sophie Okonedo as the society hostess who plans a dinner party for her husband’s colleagues and her close friends — a task that inspires many memories to surface with growing urgency. The novel, which mixes timelines and perspectives through Woolf’s signature stream of consciousness, is a natural fit for the filmmakers. Their first film, Eyimofe (This Is My Desire), similarly navigated a dense ensemble and socioeconomic themes to make larger political statements. With Clarissa, they’re able to accomplish those feats and attract a talented cast that includes Okonedo as the anxious socialite and David Oyelowo as her former lover.Clarissa bows in Cannes Directors’ Fortnight and will release in the US through Neon, which hopes the well-known property, significant stars and likely strong reviews could attract an arthouse audience and perhaps make it an awards contender; particularly for Okenedo’s acutely calibrated performance, which translates an entire lifetime into small spaces of silence. [full review via Screen Daily]