Karim Aïnouz’s Darkly Humorous Take on Love: A Review of Rosebush Pruning at the Berlin Film Festival
The Pet Shop Boys’ 1986 track “Paninaro” serves as an unofficial anthem for *Rosebush Pruning*, a provocative pansexual pantomime that pushes the boundaries of conventional storytelling. Co-scripted by Efthimis Filippou, a key figure in Greece’s “Weird Wave,” and directed by Karim Aïnouz, the film unfolds as a flamboyant Eurotrash counterpart to *Dogtooth*, exploring themes of sexuality and identity in ways that render traditional labels like “gay” and “straight” nearly obsolete. While visual comparisons to early Almodóvar are tempting, Aïnouz’s work introduces a unique blend of edginess reminiscent of Joe Orton, amplifying the film’s playful yet dark undertones.
Set against the backdrop of a Spanish beach, the narrative kicks off with Edward (played by Callum Turner) tutoring his recently acquainted friend George, who is on holiday from Athens. George, characterized by his middle-aged lack of flair, becomes an unexpected object of Edward’s affections. “He’s the kind of guy I’d like to see naked,” Edward muses in an unfiltered voiceover, signaling the film’s immediate shift to unabashed sexuality. This moment sets the stage for a wild exploration of desire, propelled by a vibrant ensemble of Gen Z and Millennial actors whose fearless performances challenge societal norms.
As Edward guides viewers into his family’s world, they learn that his mother, played by Pamela Anderson, relocated them from New York to Catalonia six months prior—before being killed in a bizarre incident involving wolves. Edward’s blind father (Tracy Letts) is left to navigate the complexities of familial love alongside Edward, his brothers Jack (Jamie Bell) and Robert (Lukas Gage), and sister Anna (Riley Keough). The family’s dynamics reveal an intense blend of affection and obsession, reaching a climax when Jack introduces his girlfriend, Martha (Elle Fanning), provoking a chaotic and absurd conflict.
From the outset, Edward epitomizes superficiality, declaring, “I don’t write, I don’t read.” His family mirrors this mindset, fixated on fashion and music. Costume changes punctuate the film’s narrative, transforming each outfit into a subplot, while their reaction to Martha—a classically trained guitarist who dresses modestly—catapults them into a frenzy, with Anna leading the charge to derail the new relationship.
While Anna could dominate the film, Keough delivers a memorable performance reminiscent of Selma Blair’s in *A Dirty Shame*. Yet the ensemble cast equally shares the spotlight, revealing eccentricities like a character’s bizarre dental hygiene ritual and another’s alarming act involving a knife. Throughout, Elle Fanning’s reactions provide a lens into the unfolding madness.
Though *Rosebush Pruning* draws inspiration from the 1965 film *Fists in the Pocket* by Marco Bellocchio, Aïnouz and Filippou prioritize a narrative centered on Jack’s efforts to escape his tumultuous and almost parasitic family. His fascination with blood—whether animal or menstrual—adds layers to his character, blurring the lines between normalcy and chaos. With its audacious humor and excess, the film challenges traditional filmmaking and offers an outrageous cinematic experience that outshines Aïnouz’s previous work, *Motel Destino* (2024).
Title: Rosebush Pruning
Festival: Berlin (Competition)
Director: Karim Aïnouz
Screenwriters: Karim Aïnouz and Efthimis Filippou, inspired by Marco Bellocchio’s 1965 film *Fists In The Pocket*
Cast: Callum Turner, Riley Keough, Jamie Bell, Lukas Gage, Elena Anaya with Tracy Letts and Elle Fanning and Pamela Anderson
Distributor: Mubi
Running time: 1 hr 35 mins
