{"id":836865,"date":"2026-09-05T02:30:10","date_gmt":"2026-09-05T02:30:10","guid":{"rendered":"https:\/\/www.newsbeep.com\/us\/836865\/"},"modified":"2026-09-05T02:30:10","modified_gmt":"2026-09-05T02:30:10","slug":"act-3-review-queer-art-history-and-life-reflections-from-masters-of-metatextuality-movies","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us\/836865\/","title":{"rendered":"Act 3 review \u2013 queer art history and life reflections from masters of metatextuality | Movies"},"content":{"rendered":"<p class=\"dcr-1s160rg\">Christine Molloy and Joe Lawlor are artists and film-makers from Ireland who have created eerie and suspenseful psychological dramas in parallel with a strand of complex and self-questioning essay movies. They explore ideas about history and identity, ruminating on their creative selves and metatextually examining (or re-examining) their own work. You may call it the \u201cAlfred Hitchcock\u201d and \u201cChris Marker\u201d sides to their work. Sometimes, their documentaries act as a kind of commentary on the fiction feature they are developing at the same time: like The Future Tense, a film about the ideas encountered during a planned movie about the pro-IRA English heiress Rose Dugdale, a project which came to fruition as the drama <a href=\"https:\/\/www.theguardian.com\/film\/2024\/mar\/19\/baltimore-review-vivid-intense-biopic-of-heiress-turned-terrorist-rose-dugdale\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">Baltimore<\/a>.<\/p>\n<p class=\"dcr-1s160rg\">Now, they have made a strangely mesmeric, deeply personal, mysteriously stylised film called Act 3, which may itself yet herald a conventional drama about its notional subject. It is structured around Molloy and Lawlor having a weirdly self-aware dialogue about their lives together over 40 years, filmed singly in shot-reverse-shot (was each holding the camera on the other?) but speaking quietly and slowly, as if under hypnosis.<\/p>\n<p class=\"dcr-1s160rg\">They are talking about their planned film about <a href=\"https:\/\/www.theguardian.com\/books\/2012\/feb\/14\/claude-cahun-finding-great\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">Lucy Schwob<\/a> and Suzanne Malherbe, the 20th-century French artist couple who might now be called genderqueer; they styled themselves with the masculine-sounding names Claude Cahun and Marcel Moore, and were lovers who became stepsisters when their parents married. They lived in an attic room in Nantes, which the film psychogeographically reveals is now screen 12 of the city\u2019s Path\u00e9 cinema; they frequented Parisian surrealist salons in the 1930s and were arrested for anti-Nazi activism in 1944 in occupied Jersey, but were spared execution due to the liberation.<\/p>\n<p>Holiday in Cambodia \u2026 Joe Lawlor and friend at Angkor Wat.  Photograph: PR<\/p>\n<p class=\"dcr-1s160rg\">It seems Lawlor and Molloy\u2019s movie about them is having money troubles because funding bodies are worried about a problem with its third act. And yes, as the two artists survived the war and lived on uneventfully in Jersey, perhaps that does seem anticlimactic. The film-makers use this as a springboard to muse on their own \u201cthird act\u201d; they are in their 60s, in the final stage of their lives. They talk about their young selves, their wedding in their early 20s and about Joe\u2019s brother John, who lives in Thailand with his partner. (They visit John again as a family, and their digital video material is juxtaposed with the milky analogue footage they took at the time.)<\/p>\n<p class=\"dcr-1s160rg\">They had a deeply disturbing experience in south-east Asia, seeing a corpse drifting down a river; a trauma they processed into the movie <a href=\"https:\/\/www.theguardian.com\/film\/2013\/sep\/26\/mister-john-review\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">Mister John<\/a>, with Aidan Gillen as a man who travels to Thailand for his late brother\u2019s funeral, and finds himself drifting into the dead man\u2019s identity. The couple have circled back to this film now because it had meaning and relevance that were not clear to them at the time. It was about death and the eternal repetition of death. Lawlor reflects tenderly on his father\u2019s death from a heart attack, and wonders if the same fate is written in his stars or in his DNA. And, in fact, this film delivers a mighty third-act payoff.<\/p>\n<p class=\"dcr-1s160rg\">So what does it have to do with the dramatic and heroic artistic lives of Cahun and Moore, whose work is only now being rediscovered? Perhaps nothing in any obvious sense; perhaps the departure, the digression, is the point. Lawlor and Molloy are an artist-couple trying to make a film about another artist-couple, but may have nothing in common with them. Yet bridging or not bridging the gap is where the mystery and artistic energy is to be found. Their film is an austere experience in some ways \u2013 and for all that that this is very personal work, the film-makers\u2019 personalities on screen are in fact rather opaque. Yet there is a richness and a maturity in it that is absorbing.<\/p>\n<p class=\"dcr-1s160rg\"> Act 3 screened at the <a href=\"https:\/\/www.telluridefilmfestival.org\/\" data-link-name=\"in body link\" rel=\"nofollow noopener\" target=\"_blank\">Telluride film festival.<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"Christine Molloy and Joe Lawlor are artists and film-makers from Ireland who have created eerie and suspenseful psychological&hellip;\n","protected":false},"author":2,"featured_media":836866,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[52],"tags":[88,206],"class_list":["post-836865","post","type-post","status-publish","format-standard","has-post-thumbnail","category-movies","tag-entertainment","tag-movies"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/836865","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/comments?post=836865"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/836865\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media\/836866"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media?parent=836865"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/categories?post=836865"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/tags?post=836865"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}