Forget Godzilla vs. Kong, the biggest cinematic showdown of the year may also be the most unexpected, in the form of Sam Levinson’s fiercely compelling relationship drama: Malcolm & Marie. Don’t be fooled by the unsuspecting title however, these two could not be further from the same side, engaged in a fierce mental and emotional war of words after a (some might say) seemingly inconsequential mistake opens the doors for a couple’s skeletons to come crashing out of the closet in spectacular fashion. With only two actors to rely for the entire film – the brilliant pairing of Zendaya and John David Washington – Levinson wrings every last drop of tension and emotional devastation out of the affair in a beautifully shot, wonderfully written and masterfully acted piece of cinema.
On the self-proclaimed “biggest night of his life” writer/director Malcolm (Washington) returns home with his girlfriend Marie (Zendaya) to the palatial house rented for them by the studio after the premiere of his latest film, a sweeping opus centred around a young girl cleaning up her drug-riddled life. While Malcolm celebrates in one of several incredible tracking shots that follow him throughout the house – easily the nicest since Parasite and practically a third character in the film by the end – we are aware of a palpable tension in the air, a feeling that something unsaid is lingering between the couple. As Marie silently prepares dinner Malcolm too becomes aware of this energy, earnestly enquiring about Marie’s mood before demanding she tell him why she is upset, the first of many instances where he thoroughly puts his foot in it. What follows is 90 minutes of two people completely let off the chain, each intent on “winning” the argument and going to increasingly underhanded and personal levels to get their point across and come out the victor – if either is left standing that is.
While the thought of watching two people fight may sound like something of a drag, Levinson infuses his script with enough moments of levity to pull you out of the depths of anger and heartbreak before they swallow you. Washington, in particular, shows some serious comedic chops here with scathing yet perfectly timed jabs in the middle of a heated fight and one seriously impressive rant about the very concept of film criticism and reviews (to even write this is a terrifying prospect after hearing Malcolm’s eviscerating speech). A hilarious recurring joke between the pair about a writer for the LA times and her views on Malcolm’s movie is undoubtedly the highlight, making you momentarily forget that these two were at each others throats not moments ago, and are now united in their hilarious derision of this outsider. This B-story of Malcolm’s wild responses to the surge of releasing reviews also serves to give the audience a moment to pause and breathe before the ware resumes, and whilst it is written spectacularly and delivered flawlessly by Washington, the dialogue is just a little too deep cut at times, feeling more like Levinson showing off his knowledge of film history rather than making a concise point about the craft.
Where Levinson’s message is at its most potent is in the arguments that make up the bulk of the runtime. This is far from your traditional rom-com where love wins out in the end after a few spots of trouble, but instead the unravelling of a five year relationship where everything bubbling under the surface finally spills over in spectacular fashion. Metaphorical knives are wedged in backs and verbal slaps in the face are frequent as Malcolm and Marie go to increasingly low levels, referencing ex-lovers and completely shattering one another’s self-confidence. It’s not all destructive though, in their own especially dark ways the couple are trying to be constructive with each other, pointing out flaws that you can tell have shattered illusions and altered the other person’s perception of themselves forever. It’s fascinating to watch these two people evolve and change over the course of the night – a series of conversations is rarely this captivating (save for The Social Network) – and you will be as emotionally exhausted as Zendaya and Washington appear at the end of it all.
Anyone who doubted the comparisons to his famous father after Blackkklansman will be silenced here by John David Washington’s fierce performance, channelling an aggression and physicality that is impossible to tear your eyes away from, filling the screen with his presence as he parades around the room spouting monologues to thrilling effect. In those quieter moments, he is no less engaging, often conveying the entire emotional spectrums in scenes through facial expressions alone. Not to be outdone, Zendaya continues her winning streak following her Emmy win for Euphoria, sharing a few similarities with her character Rue and delivering that same brand of subdued yet somehow manic energy, with a heart-breaking performance that will shatter audiences and likely prime her for a run at an Oscar. During one of Malcolm’s more callous attacks, the camera holds on Marie sitting in a bathtub clutching her knees, holding on her face for an almost uncomfortable amount of time, as you slowly watch her poker face of indifference fracture after each barb, revealing the vulnerable, hurt woman underneath. It marks a shift in the film as well as the couple’s relationship, prompting a kamikaze onslaught from Zendaya in the second half of the film that sucks the oxygen out of the room with tension as she unleashes all of her gripes from the relationship, risking everything now in an attempt to get Malcolm to simply understand her.
Making the whole film more impressive is the fact that it was conceived, written and filmed entirely during the COVID pandemic with a minimal crew, a feat that I’d wager puts most pandemic-prompted hobbies to shame. A rich black and white colour palette goes beyond the gimmick, adding another level of beauty and classiness to Malcom & Marie’s surroundings while also acting as a physical metaphor for the nature of their arguments: seen by the two of them as needing to define a clear winner and loser when in actuality the whole affair is a mix of different shades of grey. Smooth camera work all around and a killer score from Euphoria collaborator Labrinth combine with the monotone colouring to give the film a timeless and classy presence – a story told through a modern relationship, but which carries universal themes of trust and commitment that would be as hard-hitting and relevant in the 20th century as they are now.
Malcolm & Marie is the first truly great film of 2021. The fact that Sam Levinson is able to stretch such tension and genuine intrigue out of such a simple premise is nothing short of incredible. Drawing you in with a familiar scenario and twisting the situation on its head completely, he creates an edge of your seat thrill ride of domestic chaos; fast and furious word slinging at its most potent and acerbic. John David Washington and Zendaya add another notch to their already impressive belts with two pitch-perfect performances, bouncing off each other with a rhythm and chemistry that hopefully paves the way for many more collaborations between the pair. With Valentine’s Day fast approaching this probably shouldn’t be your go-to film to get sparks flying – but that’s ok, you still have another 27 days in the month to treat yourself to this fiery anti-romance.
Malcolm & Marie stars Zendaya & John David Washington – Streaming on Netflix from February 5th.