Kalin, a veteran of the New Queer Cinema movement ( Swoon ), avoids sensationalism. Instead, he treats the story with a detached, almost clinical gaze, using static, compositionally precise shots reminiscent of Kubrick or Fassbinder. The film’s thesis emerges slowly: the Baekelands are not simply disturbed—they are trapped in a gilded cage of performance. Barbara believes life is a stage for beauty, status, and transgression; Tony, desperate for authentic love and approval, can only mirror her pathology.
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Where the film divides audiences is in its tone. The emotional distance Kalin maintains can feel airless; the beautiful, suffocating interiors (courtesy of cinematographer Juan Miguel Azpiroz) become a character in themselves, but one that repels empathy. Some critics praised its boldness and Moore’s fearless performance (called “a masterpiece of mannered hysteria”); others found it cold, even exploitative. Kalin, a veteran of the New Queer Cinema
The infamous Oedipal spiral—Barbara’s attempt to “fix” Tony’s sexuality by seducing him (and later involving her former lover in a ménage-à-trois with her son)—is not played for cheap shock. Moore portrays Barbara not as a monster but as a woman so hollowed out by patriarchal expectations and her own narcissism that incest becomes, in her twisted logic, the ultimate act of maternal devotion and artistic control. Redmayne’s Tony is heartbreaking: a boy-man whose repressed fury and longing eventually ignite in the film’s quiet, devastating final act. Barbara believes life is a stage for beauty,
