Maya Dardel (2017)

Olin, at turns daringly open and frustratingly restrained, makes Maya entirely her own, the focal point and reason for the film itself.

Where Maya Dardel really works is when it sticks to being a character study.

The main issue is that the story, while reasonably interesting, is not as interesting as the setup would like you to imagine, and that in such a context, Lena Olin is way too powerful for it. She not only overwhelms her young executor-suitors but the entire movie.

For all the linguistic gymnastics, the film is hamstrung by its directors’ lack of visual imagination.

The proceedings are often stifling, but not without their prickly pleasures.