Barcelona, Spain — “Rosebush Pruning,” directed by Karim Aïnouz, dives deep into the dark absurdities of a wealthy American family struggling to find their place within the lavish yet hollow architecture of their Catalonian surroundings. With a vibrant backdrop reminiscent of 1980s Italian youth culture, the film critiques both the surface-level elegance and the underlying emptiness prevalent among its characters.
Set six years after the Taylor family vacated New York for the allure of the Catalonian coast, the film presents a clan steeped in privilege, yet marred by disconnection. Pam Anderson plays the mother, whose affection for the architecture of Antonio Gaudí has yet to resonate with her family. Husband Tracy Letts and their four adult children — Ed, Jack, Anna, and Robert — have embraced their new locale, albeit as reluctant outsiders who thrive in a cocoon of vanity and inherited wealth.
“Rosebush Pruning” takes inspiration from Marco Bellocchio’s 1965 film “Fists in the Pocket,” which dissected bourgeois values. This latest iteration, penned by Efthimis Filippou, emulates the deadpan absurdity that characterized Filippou’s work with Yorgos Lanthimos, particularly in esteemed films like “The Lobster” and “Dogtooth.”
At its core, the film portrays a family dynamic teetering on dysfunction. The unseeing father, represented through a series of unsettling encounters, commands the often-objectified Anna to describe Jack’s girlfriend, Martha. This moment encapsulates the film’s biting humor and critique of societal norms, revealing layers of jealousy and materialistic judgments. Characters express themselves through obsessive brand assessments that convey an overarching fixation on superficiality.
Martha, played by Elle Fanning, is ensnared in this world while grappling with her romantic commitments. Her desire for a deeper connection with Jack is tainted by the family’s competitive and often mocking atmosphere, where comfort and material wealth mask genuine affection. The interactions between family members pulsate with tension, suggesting that their relationships may be as fragile as their opulent surroundings.
Despite its impressive cast, which includes Callum Turner, Riley Keough, Jamie Bell, and Lukas Gage, the film struggles to maintain an emotional anchor. The performances shine, particularly with Gage’s provocation in a revealing ensemble that highlights the unsettling blend of humor and discomfort that permeates the family interactions.
Notably, Aïnouz’s visual storytelling is striking, contrasting dark undertones with vibrant cinematography from Hélène Louvart. The score by Matthew Herbert further complements this aesthetic, weaving tension through scenes rife with betrayal and revelation. The nuanced visuals and sharp costumes indicate a painstaking attention to detail, yet the film’s cynical themes could leave audiences feeling detached.
While “Rosebush Pruning” presents an intriguing exploration of familial bonds through a lens marked by privilege, it often falters in eliciting viewer sympathy. With characters so entrenched in their self-absorbed reality, the film’s sharp humor fails to conceal the absence of warm humanity. The culmination of this dark comedy, peppered with moments of intrigue, ultimately leaves a bitter aftertaste, lacking the emotional resonance that might have forged a genuine connection with audiences.