Based on a memoir by Deborah Feldman, Netflix’s four part series Unorthodox is mostly compelling and occasionally frustrating. Newcomer and breakout star Shira Haas plays Esty (short for Esther), a young married woman who flees her orthodox Hasidic Jewish community in Brooklyn for Berlin, where her mother, who similarly escaped the ultra-conservative sect years before, lives. As she discovers a world outside the rigid confines of her own, her husband and his ne’er-do-well cousin are dispatched to bring her home.
There are a couple of time frames going on; besides Esty’s escape, we get flashbacks of her betrothal to her husband and her gradual disillusionment with her community. Those scenes are excellent, as are all the Brooklyn sequences, and very well acted – in Yiddish – by actors who certainly feel authentic to this highly specific milieu (they’re mostly from Israel). However, the Berlin scenes are far less convincing, with a lot of on-the-nose dialogue and performances.
This is intriguing stuff that rests tremendously on Haas’s tiny shoulders; she bears the burden with electric intensity. It’s refreshing to watch a show like this with an entire cast of ‘unknowns’ (outside of Israel, anyway) led by such a good one. She won’t be unknown for long.
Like Harry Pott— oops, sorry — like Daniel Radcliffe, Elijah Wood (The Lord of the Rings) has spent his post-blockbuster-franchise life looking for weird. He finds it in spades with Ant Timpson’s Come To Daddy, a black comedy that’s blacker than most. Timpson is a New Zealander and this is his feature directorial debut, but he’s got a strong and truly eccentric list of other credits, particularly as a producer (Turbo Kid, The ABCs of Death) and as the founder of The Incredibly Strange Film Festival, which has been going since 1994. He’s clearly into weird cinema, and with Come to Daddy, he’s effectively made exactly the kind of film he likes to program at his own festival.
Indeed, it’s plainly apparent that his deep experience with freaky-film audiences highly informs his film. Come To Daddy seems literally made to be enjoyed as a late-night festival screening for a packed house; it has a number of moments designed (rather expertly) to elicit that contagious panicky giggling, partner’s arm-grabbing, oh-my-god-what-are-we-seeing? discomforted laughter wave. It’ll play differently in isolation on your device, but if you’re a fan of this type of film, you’ll appreciate those moments even as you wish you were sharing them with a half-drunk raucous audience of young festival hounds, the type who seek out Incredibly Strange every year at the New Zealand International Film Festival. (At the Sydney Film Festival, the similar sidebar is called Freak Me Out.)
Wood plays a thirty-five year old Beverly Hills music-industry wannabe who is summonsed to see his father – who deserted him and his mother when he was five – at his gorgeous remote coastal home. When he arrives he finds an abusive, alcoholic wreck of a man, but that’s just the set-up. As befits this quite specific sub-genre, a lot of crazy shit goes down. Timpson has a lot of surprises up his sleeve; one of them is very, very clever.
This is an unashamedly violent film, but never against women, and always in the spirit of the genre, which isn’t horror, nor comedy; black comedy is technically correct, but in spirit and intention, the best descriptor of all would be midnight movie. Intriguingly, it was shot on Vancouver Island, in British Columbia, Canada, with money from New Zealand, Canada and Ireland. It’s a Frankenstein’s monster, and not without wit and ghoulish charm. * * *
Come To Daddy is available to stream at https://www.umbrellaentfilms.com.au/movie/come-to-daddy/
Unorthodox is currently streaming on Netflix.