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“Wrong” stands on her chest, “cheating” on her back. “Disappear” blazes on her right forearm. Camille has covered almost every inch of her skin with large block letters. But re are no tattoos that decorate m, Camille has carved words into her own flesh. She hides se messages on herself under long sleeves and trouser legs. When she sees a body place of herself in mirror, she looks away, ashamed.
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It is an injured heroine, by Sharp objects, new HBO series by Marti Noxon (dietary, Unreal) and Gillian Flynn (Gone Girl), staggers. Camille Preaker, played by Amy Adams, is a journalist and is sent back to her home town of Wind Gap by her editor, a coffee at sournmost tip of Missouri. A young girl has been murdered, anor is missing and Camille’s boss (Miguel Sandoval) smells a story. A meditation on death and grief in a small town hovers over him, told from personal perspective of a homecoming man.
Camille hesitates. A part of her is stuck in a past that she prefers to suppress with vodka. She lost her sister when two were still children, and she has a difficult relationship with her mor Adora (Patricia Clarkson). But she takes job and flushes enormous amounts of high-percentages down before she enters her parent’s home: an impressive Victorian mansion, whose door is opened by black housekeeper.
The mor receives her daughter cool. Camille may eventually stay, but should not dare to harass Adora with stories of dead girls. “I’m glad you’re here,” she whispers, “but don’t embarrass me.” In public, Mommy Dearest plays perfect Südstaatenlady, but her false nicetiess literally cut her daughter into flesh.
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While whole city is looking for missing girl, Camille concludes acquaintance with her 13-year-old half-sister Amma (Eliza Scanlen), whom she barely knows. Amma presents a strange ambiguous behavior, depending on whose company she is in. At home she ties herself into her hair and plays with her doll house, in city she pulls herself sexy and makes every beautiful eyes. “If you allow m to get it for you, n you’re actually going to do it,” Amma says about guys she’s wrong with.
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The most interesting thing is sharp objects – similar to big Little lies and top of lake series – when it comes to consequences of violence and lies that women tell mselves and ors in order not to arouse compassion. How to do everything to avoid female standard role: that of victim. When Camille tells a cop from Kansas City (Chris Messina) how a group of football players fell over her as a girl, he calls it rape. “Some people would describe this as amicable,” she replies.
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The fact that people in wind gap have such a contradictory relationship with sexual violence also stems from history of place. Once a year, patron Saints of city are celebrated, a young woman who, during civil war, was raped and tortured by hostile soldiers to save her husband. In this small town “every woman will get a nasty label,” says Camille, who does not stick to unspoken rules of femininity. There is no day when she herself is not reminded that she used to be city’s. A deep sip of water bottle filled with vodka.
