Split

2016
3.5| 2h30m| en
Details

The story of a young woman who takes an epic journey to claim her own darkness and sexuality so she can stop putting it into the hands of her abusive lover. When Inanna, a young actress, working as a stripper, becomes obsessed with a mask maker, she sacrifices parts of herself and her life, piece by piece, in order to win his love. At the same time she enters a mythic journey in the theater. One that forces her to face the many abuses endured by women around that world and that blurs her performance, her dreams and her real life and results in a provocative and powerful confrontation that frees her. -- from official website

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Reviews

Laikals The greatest movie ever made..!
AboveDeepBuggy Some things I liked some I did not.
SeeQuant Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction
Cheryl A clunky actioner with a handful of cool moments.
adalaur Having read about this film as part of a few film festivals I was intrigued and yet hesitant to watch it myself. I knew that it was about a very emotionally challenging relationship and experiences. As things happen, it resurfaced right at the right time, following a break up and challenging custody agreement process I was in. This movie does not shy away from the challenges and experiences we as humans go through in the attempt to relate, love and build lives together with other humans. And in particular it brings to the forefront how our innocence, expectations, earlier emotional wounds greatly impact how we exist and relate to others. For women, I believe this movie begins to create a way to peal off layers we have put on to face the world, to ultimately heal our own wounds by acknowledging and accepting them as wounds. I would say for any woman that has had a relationship with challenges in relating, which I feel is most relationships (also between friends and family) this film begins to create a means of talking about why it can be so difficult to be in relationship. The scenes from the theatrical play group within the movie are so cinematically beautiful and the female nudity which is presented is so raw and real and natural.
Emilio Floris Like at least one of my fellow reviewers, I was laboring under the mistaken impression that I was watching M. Night Shyamalan's latest masterpiece until reaching the halfway mark after about one hour. Not so. This one is actually a nice little feminist movie about a pole dancer moonlighting in a lesbian theater production, which is not necessarily my cup of tea but equal and totally valid. The ladies might want to watch it for the quite attractive and often scantily clad male lead. Enjoy!
esavier OK, at first i lasted 2 minutes, i thought this is some kind of misunderstanding. But OK, i asked myself, is it OK to write the review after 2 minutes of the movie. So i took a lot of vodka and watched it all. Afterwards i decided to bleach my eyes and if its possible my brain.How anybody can do something disgusting and miserable, and proudly show it to people. I actually find growing mold more interesting than this... How much drugs do average human need to actually enjoy this?
renhir Inanna (Amy Ferguson) joins an experimental theater group that works on the Mesopotamian myth of Inanna, and more specifically on the liberation of enslaved women. After a few rehearsals, she comes to the conclusion that she does not possess the primal rage and the raw longing for freedom that the other women in the play possess. In a most upsetting scene, these women tell how they have been victims of extreme (sexualized) violence. At the same time, Inanna falls head over heels in love with Derek, a mask maker (Morgan Spector), and marries him. Right from the start, she adapts her life to his, while he refuses to change anything in his own life. He doesn't even stop the affair he had with his assistant (Antonia Campbell-Hughes), claiming that she was there first. Inanna soon realizes that she is losing her identity while getting nothing in return. Profoundly wounded and feeling like drowning, she is now able to express the primal rage and the raw longing for freedom that the play requires from her.