When Australian writer-director Julia Leigh’s Sleeping Beauty made its debut at Cannes last May, the responses among critics I talked to veered from bland outrage to vexed boredom. That doesn’t leave a lot of middle ground, and I had to see Sleeping Beauty a second time before I was reasonably sure what I thought about it. I’m still not reasonably sure what I think about it: The picture is clinical in its approach and its technique, yet it leaves so many questions unanswered — it’s straightforward in a vague, maddening way. It’s also strangely, obliquely compelling.
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REVIEW: Strange, Hypnotic Sleeping Beauty Sends No Clear Message — Thank God
