Dasha Nekrasova – ALLIANCE OF WOMEN FILM JOURNALISTS

BAD BEHAVIOUR – Review by Betsy Pickle

June 6, 2024June 6, 2024 Betsy Pickle Alice Englert, australian films, Bad Behaviour, Ben Whishaw, Dasha Nekrasova, Jennifer Connelly

I can think of two reasons why directors like to work on projects set in the world of moviemaking: It’s a milieu that’s familiar to them, and it’s a genre that audiences seem to enjoy. That’s especially true when a movie pokes fun at celebrity foibles and bad behavior that appear to have real-life inspiration. Bad Behaviour avoids the supposed glamor of filmmaking and operates on the edges of that scene. It has some of the trappings of the genre, but it skews dark and throws a net over a variety of issues that affect celebrities and regular folks alike.

Reviews

BAD BEHAVIOUR – Review by Nadine Whitney

August 25, 2023August 27, 2023 Nadine Whitney Alice Englert, Bad Behaviour, Ben Whishaw, Dasha Nekrasova, jane campion, Jennifer Connelly, Marlon Williams

Australian/New Zealand actor Alice Englert steps into the director’s chair for the abundantly absurd black comedy Bad Behaviour that satirizes everything from New Age wellness cults to the entertainment industry, motherhood, youth and power, and, naturally, bad behaviour. Bad Behaviour is the work of a young director who has yet to find her feet. It works best when it leans into satire but falls apart in sincerity. There are moments of effective near surrealism that prove that Englert has a handle on the absurd, but she’s yet to manage how to balance tonality and unearth authenticity inside her premise.

Festivals Reviews

THE SCARY OF SIXTY-FIRST (Berlinale 2021) – Review by Alexandra Heller-Nicholas

March 2, 2021March 3, 2021 Alexandra Heller-Nicholas berlinale 2021, Betsey Brown, Dasha Nekrasova, horror, Jeffrey Epstein, Madeline Quinn, The Scary of Sixty-First

Dasha Nekrasova’s debut feature film follows two young women who fluke the real estate deal of a lifetime, a dream duplex on the Upper East Side of Manhattan. It is only after moving in, however, that they discover that their home’s previous owner was Epstein who used it, as one character notes, as an “orgy flophouse”. They together become Nancy Drew like conspiracy theorists who fall increasingly into paranoid obsession. The Scary of Sixty-First does exactly what horror film does best: it gives us a way of speaking about the very real nightmares of the world we live in when we struggle to find the words.