As its release approached I heard Carol described as the arthouse equivalent to Star Wars: The Force Awakens - a highly-anticipated, once a generation type deal. While that may be a little hyperbolic (even adjusting to scale, nothing can quite match the proliferation of Star Wars), it's hard to deny this isn't something very special. In Cannes it was by far the most popular movie, with every one of the press screenings jammed well before start time, and its high praise proved to be more than just excitement from the bubble of the Palais. And it is just that good. For the first time (at least since 1960's Purple Noon) the subtle underlying character motivations of Patricia Highsmith's writing has been uncompromisingly transferred to the screen, a particular achievement given that we're dealing with romance, rather than alternatively greedy or self-preserving sociopaths. Cate Blanchett and (to a crazily greater extent) Rooney Mara are excellent as repressed lesbian lovers, while Todd Haynes has the restraint to not sensationalise - prejudice plays a part, but, as best seen through Kyle Chandler's disgruntled husband, much of the societal anger comes from a pure inability to understand their love. Also, if you live in London, be sure to check out the Through A Lens: Saul Leiter And Carol photo exhibition at Somerset House - it only serves to highlight the viscerally of Edward Lachman's cinematography. Read the full review here.
