Don’t Look at Me That Way

After over 600 WLW films, I think I might be suffering from burnout. Most other reviews of Don’t Look at Me That Way I’ve read are lukewarm positive reviews. I can’t even manage to feel lukewarm emotions about it. In 600 WLW movies, I’ve seem so absolute garbage. And Don’t Look at Me That Way isn’t on that level. But that doesn’t mean there’s enough here to recommend either. I don’t believe this is an overtly bad film. But it didn’t come together quite strong enough for me to even give it a mixed review.

The film’s set up is that Heidi, played by the film’s writer and director, Uisenma Borchu moves in next to a single mother named Iva. Iva and Heidi develop a friendship which involves them talking frankly about their disappointing sexual experiences. They also help each other achieve their next disappointing sexual experience. Eventually, the women’s friendship and sexual dissatisfaction leads to them developing a sexual relationship with each other. At least initially, this seems at least more satisfactory than their individual male conquests.

This section of the movie depicts Iva constantly disregarding her child in place of sex dates or nights out with Heidi. Both women come across as deeply unlikable. The film seems to have a desire for warts and all honestly. But when that honestly is applied to individual characters, it comes across as them just being unpleasant people. Especially because as a society, we expect tact and politeness from women especially. Iva’s neglect of her daughter in place of drinking, sex and gay activities succeeds in not coming across as a judgment on homosexuality, at least. It just seems like this woman as an individual is a shitty person who so happens to have sex with women. The two factors aren’t specifically linked though. So that’s good!

Don’t Look at Me That Way is notable for its depiction of sexuality and nudity. For a start, the fact that this film’s star, Uisenma Borchu is also the director suggests that her depiction onscreen is something she has full control over. Borchu takes this control and female perspective and creates sex scenes with a broader attempt at realism. Nudity is shot frankly and sex is not necessarily an idealized montage. Instead, sex is an ongoing dialogue which sometimes ends disappointingly. I admire all of these elements, though not enough to turn the tide of my opinion on this film.

The second half of the film adds a new plot point which I hate on a personal level. This isn’t artistic critique of any kind. It’s just my personal displeasure. Heidi begins having an affair with Iva’s father. And I did not exactly care for that turn of events! The film stalls the drama from this new, upsetting love triangle until very near the film’s end. Don’t Look at Me That Way pushed a vibe of realism through most of its run. But the scene the movie ends on takes a turn for the melodramatic. While I was the most engaged with that last scene, it doesn’t seem to be tonally in finding with the rest of the film.

Don’t Look at Me That Way is one of those mid-level German arthouse films that emphasizes realism, handheld camera work and a sterile, muted colour pallet. I guess I’ve seen at least one too many mid-level German arthouse films because I cannot drum up any excitement about this one. None of the film’s visuals are particularly engaging. So that leaves the story. I found the story of Don’t Look at Me That Way to be okay at best. The ending felt out of place. It didn’t feel “real” enough to mesh with the realism style of its directing. I am aware I’m being overly harsh on what is in reality, an “okay” movie. But when I compare it to the hundreds of other films I’ve rated, I can only give Don’t Look at Me That Way a high negative review. There’s just not enough here that excited me.

Overall rating: 4.6/10

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