Make Up

    Make Up
    2020

    Synopsis

    After Ruth moves in with her boyfriend in a remote holiday park, tensions rise as she makes an unsettling discovery that lures her into a spiral of obsession.

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    Cast

    • Molly WindsorRuth
    • Joseph QuinnTom
    • Stefanie MartiniJade
    • Theo Barklem-BiggsKai
    • Elodie WiltonKippa
    • Lisa PalfreyShirley
    • Emilia CopelandRed Haired Girl
    • Maureen WildApril
    • Derek FroodStephen
    • Rachel PalmerGirl in Shower

    Recommendations

    • 100

      Time Out

      For all the clammy grip it exerts, this thrillingly original film is more interested in trapping you in its psychosexual maze and immersing you in the relatable pains of self-discovery.
    • 83

      Original-Cin

      At under 90 minutes, Make Up doesn’t include much action but the skin-crawling effect of the film reverberates until after the credits roll. The entire technical package — the menacing visuals, the rumbling soundscape, the brief disorienting sequences of flashbacks and dreams — are anchored in naturalistic, understated performances.
    • 80

      Empire

      Claire Oakley has created a vivid sensory experience out of limited means. Make Up is anything but cosmetic — it gets right under the skin.
    • 80

      The Guardian

      It’s a clever and expertly made movie; Oakley luxuriates in its winter chill.
    • 80

      CineVue

      Make Up taps into a rich Gothic tradition where repressed emotions find their vent in uncanny space and sexual awakening is realised through the imagination.
    • 80

      The Observer (UK)

      Eerie images of a bloodied fingernail and long grass lit by amber floodlights signal Oakley’s sly sense of humour and eye for visual poetry.
    • 80

      Los Angeles Times

      It’s an insightful, deeply felt film that lets us in on a personal evolution.
    • 80

      The Hollywood Reporter

      Benefitting from an unassuming but dead-on performance by lead Molly Windsor, the picture may frustrate those expecting a true horror film, but earns Oakley a place alongside other young women (like Amy Seimetz and Sophia Takal) currently exploring the usefulness of genre conventions in feminist storytelling.