TIFF ’21 Review: ‘Violet’ is a novel portrayal of stifling insecurity
‘Violet’ uses a mix of audio and visual elements to convey a woman’s inner turmoil as she wrestles with feelings of not being good enough and the desire to be who she wants.
While it’s inherently true that everyone experiences the world differently, there are some commonalities related to gender, race, sexuality, and other traits that can inform those experiences. Those fundamentals are then compounded by all of one’s personal interactions, whether they be good or bad, guiding our choices and molding us into who we are as people. But what if that person isn’t who you want to be? In Violet, the lead character is in a constant internal struggle with who she should be and who she wants to be.
Violet (Olivia Munn) is a very successful movie producer, working at a small company that offers her both a lot of decision-making power and responsibility. Everyone loves working with her and her last several projects have been critically acclaimed. Yet, she is saddled with crippling self-doubt. She allows her subordinates to walk all over her, her career dictates her love life and her family berates her choices. When in a difficult situation, the voice in her head tells her what to do to protect her seemingly fragile persona, while a more muted voice expresses her repressed feelings and desires. After years of allowing the louder voice to determine her actions, Violet is no longer sure it’s fostered the life she wants for herself.
Writer/director Justine Bateman’s feature debut draws audiences into Violet’s insecurities in a manner that is very surreal and vivid. She’s internalized all the times she’s been told she’s not good enough and it’s manifested as a demeaning, imaginary guide. Each time a conflict arises or she must make a consequential choice, a serpentine, male voice (Justin Theroux) invades her consciousness, instructing her how to react to maintain the status quo and ensure she’s not perceived as a “bitch.” Thus, she doesn’t hold people accountable or stand up for herself. Meanwhile, via stark white, cursive writing on the screen, Violet’s true feelings are revealed — she wants to be different, she wants to be more assertive, she wants to make different choices even if they’re unpopular. Consequently, most of the interactions depicted conclude with Violet feeling terrible about herself and/or lashing out to bring a painful exchange to a close.
Munn eloquently portrays Violet’s brittle façade and inner struggle as she tries to resist the voice before inevitably conceding because it must know best if it’s gotten her this far. In spite of trying to maintain a straight face, viewers can still perceive the torment in her eyes as this war is waged in her head between “the committee” and her true self. This internal debate is incredibly relatable, particularly for women, who try to juggle so many expectations, while avoiding oppressive labels. Violet lives her life like one wrong step or word could destroy everything — and to a worrying extent, she believes that’s true.
In spite of the focus on Violet’s stressful existence, this is a movie about empowerment, and her journey to finding the best decisions for her and not everyone else. It’s a hard road to go from a place of absolute self-doubt to embrace one’s own power, build self-confidence and stand fast. When Violet attempts to ignore the voice, it makes her more vulnerable — but it also gives her the first glimpses of happiness she’s seen in a long time.
Violet is screening as part of the Special Presentations programme at the Toronto International Film Festival.
Read other reviews from the festival.
Director: Justine Bateman
Starring: Olivia Munn, Luke Bracey and Justin Theroux
