In Rosebush Pruning, director Karim Aïnouz delivers a darkly comedic family drama set against the backdrop of a sun-drenched Catalonian villa. The film opens with Ed (Callum Turner), one of four estranged siblings, reflecting on the peculiar dynamics that have drawn his dysfunctional American family to a secluded modernist estate outside Barcelona. Six months after their relocation from New York City, the Taylor family finds itself isolated with their domineering, blind father. Their mother's recent death, attributed to wolves in the nearby woods, adds another layer of tragedy and mystery to their already fraught existence.
The narrative unravels the complex relationships between the siblings, each grappling with their own pathologies and desires. Jack (Jamie Bell) exerts a near-absolute control over the household, while Ed pursues a life dedicated to nonsensical proverbs and fashion. Anna (Riley Keough) is a struggling musician, and Robert (Lukas Gage) battles epilepsy and engages in self-harm. The fragile equilibrium of their isolated world is shattered with the arrival of Jack's new girlfriend, Martha (Elle Fanning), a classical guitarist whose presence threatens to expose the family's deeply unsettling, incestuous undercurrents.
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Ed (Callum Turner), the film's melancholic narrator, begins his story on a sun-drenched beach in Catalonia. He recounts a recent encounter with a Greek acquaintance named George, offering a glimpse into Ed's fascination with fashion and his unconventional worldview. This opening sets the stage for Ed's narration of his profoundly dysfunctional American family, the Taylors. The family relocated from New York to a luxurious modernist villa in the hills near Barcelona six months prior to the film's start. They live in near-total isolation with their blind and tyrannical father.
The mother's presence looms large despite her absence; she met a grisly end shortly after the move, reportedly torn apart by wolves in the adjacent forest. The household is dominated by Jack (Jamie Bell), the eldest sibling, who holds the intimate responsibility of assisting their father with a disturbing nightly tooth-brushing ritual involving bleach. Ed, an aspiring fashion enthusiast, coins the film's central maxim: "People are roses, families are rosebushes. Rosebushes need pruning." Anna (Riley Keough), a singer-songwriter, harbors incestuous desires for her brothers and develops an odd infatuation with the local butcher. Robert (Lukas Gage), who suffers from epilepsy, oversees their father's horse riding and engages in disturbing acts of self-harm.
The suffocating stasis of the family is disrupted when Jack introduces his new girlfriend, Martha (Elle Fanning), a classical guitar player. Martha represents an outsider who threatens the insular, incestuous dynamic that binds the siblings, each of whom harbors affections for Jack. As Jack and Martha begin planning a life together away from the villa, the remaining siblings conspire to prevent Jack's departure. Ed starts impersonating Jack's voice during their father's tooth-cleaning sessions and uses it for fraudulent phone calls to extract family secrets. Anna and Robert, feeling the most threatened, escalate their schemes to include sexual seduction and even murder, though their attempts often backfire with darkly comic results. The film follows Ed's detached narration as the family's pressure-cooker existence reaches a violent breaking point, their pathological obsessions colliding in a crescendo of absurdist carnage.
Early reviews from the Berlin Film Festival premiere show a divided critical response. While performances and the film's transgressive absurdism are praised, many find the characters unrelatable and the narrative heavy-handed. Comparisons to Yorgos Lanthimos's work are frequent, with opinions split on whether it's a worthy successor or a lesser imitation.
“Bell and Turner expertly convey the charisma of Jack and Ed while also revealing that there's something a little unsavory about them both... Almost every bit of weird shit that happens foreshadows a later development.”
David Rooney
The Hollywood Reporter
“A sweating, absurdist family saga of outsize gestures and out-of-bounds desires, rendered in hues so hot and drenched, you half-expect a 'wet paint' sign on the screen.”
Guy Lodge
Variety
“A weird-wave contrivance concerning a messed-up US plutocrat clan living in Spain... Their bizarre and cartoony secrets, involving sex abuse, manipulation and self-harm, are satirically symptomatic of capitalism and the patriarchy.”
Peter Bradshaw
The Guardian
“An insane ensemble piece, with each character getting their moment in the sun... Keough rises to the challenge with the most lascivious performance since Selma Blair as N-cup stripper Ursula Udders in John Waters' A Dirty Shame.”
Damon Wise
Deadline
“Bullish, battle-hardened critics suddenly saw red upon viewing this bone-dry, button-pushing comedy about nuclear-level family dysfunction... The silly, self-aware shenanigans are played in the register of high absurdity.”