Cordelia Movie Explained: To create an uncomfortable mood, the walls don’t always have to close in. It’s not always necessary to have the wallpaper close in. The title character, who shares a home with her twin sister Caroline (also played by Campbell-Hughes), lives in a flat with textured green wall coverings that are the polar opposite of welcoming in “Cordelia,” a thriller directed by Adrian Shergold from a script by Shergold and the film’s lead actress, Antonia Campbell-Hughes. Cordelia Movie Explained here below
- Antonia Campbell-Hughes
- Adrian Shergold
- Adrian Shergold
Cordelia, on the other hand, is a frosty customer, albeit with good reason. Cordelia has an awkward meeting with a blind guy on the London Underground, which concludes in Cordelia moving with dispatch through the vehicle. When we see her again, it’s been a while—12 years, we learn—and Cordelia, an actress, has stopped taking “the tube.”
She returns home by strolling over Festival Bridge after dropping in on a play rehearsal—of King Lear, as it happens, and she’s understudying a part, although not necessarily her namesake’s part. She bumps into an old friend. He wants to catch up, but she isn’t interested. She tells him, “You were the last person I saw before I climbed inside that tube.” And he accepts it and carries on with his life.
We never get the details of what transpired. This video premiered in England in 2019, and historical mathematicians can deduce that Cordelia was a survivor of the 2005 London Underground bombings, now known as the “7/7 strikes.” However, the film does not explicitly ask the audience to take that path.
Cordelia Movie Review – Cordelia Movie Explained
“Cordelia” is more of a mood piece, but a disastrously awful one. When Cordelia returns home, she discovers her vivacious, glammed-up twin Caroline getting ready to go on a weekend getaway with a new boyfriend. Cordelia doesn’t appear to be alone, and indeed, this set-up is extremely similar to Roman Polanski’s disastrous negative mood piece “Repulsion” from 1965.
The ogling looks of males do not fuel Cordelia’s predicament, as they did in the 1960s film. Michael Gambon plays a downstairs neighbor with a strange feeling that isn’t licentious. Then there’s Frank, the upstairs neighbor who practices cello at virtually all hours of the day but plays well and appears to be reasonably kind.
The fact that “Cordelia” isn’t tied to what we’d call reality is perhaps the most essential factor. And it’s the fact that it doesn’t stay attached that gives the film its unique charm. Cordelia has awful dreams, and we’re not sure if she’s actually awake when she wakes up. And Frank appears to be a decent guy, but when he takes Cordelia to a strangely deserted pub and he needs to leave for some reason, she notices creepy images of herself and Caroline—or is it just her? Is it just Caroline, or does he start to appear suspicious?
Yes, Polanski’s film made its heroine’s hallucinations appear to be part of objective reality—indeed, one of them pioneered an effect that’s still used as a jump scare frequently and effectively today—but in “Cordelia,” the lines between what’s happening and what’s happening in Cordelia’s head become increasingly porous as the action itself becomes increasingly dire.
In fact, towards the end of the film, I was furious. The image looked to straddle the line between brazenly derivative and purposefully obscure. After turning it over, I’ve come to the conclusion that my dissatisfaction with what I perceived as a lack of resolution did not detract from the film’s actual creepiness. Sometimes that’s all that’s required.
The film is now showing in cinemas and on digital platforms.