Rosebush Pruning: A Transgressive Exploration of Familial Decay and Patriarchal Rot

The cinematic landscape is often punctuated by films that challenge conventions, push boundaries, and provoke visceral reactions. Karim Aïnouz’s latest offering, Rosebush Pruning, firmly plants itself in this category, presenting a stark, unsettling, and darkly comedic dissection of familial dysfunction and the insidious nature of privilege. The film, bolstered by an ensemble cast of notable talent including Callum Turner, Pamela Anderson, Elle Fanning, Riley Keough, Tracy Letts, and Lukas Gage, delves into taboo subjects with an unflinching gaze, leaving audiences to question whether they are witnessing an "eat-the-rich satire" or a disturbing descent into horror.

At the heart of Rosebush Pruning‘s provocative nature lies its unconventional narrative and the thematic explorations it undertakes. The film reportedly features scenes that are designed to shock and disturb, including a blind father being pleasured by his son while brushing his teeth, a brother sniffing a semen-soaked sock before committing murder, and instances of blood being consumed from fingers, whether from deceased animals or menstrual sources. These graphic and unsettling depictions are not gratuitous, according to director Karim Aïnouz, but rather serve as potent metaphors for the deeply ingrained corruption and decay within the family unit depicted.

The Lanthimos Connection and Filippou’s Pen

A significant indicator of the film’s tone and thematic resonance comes from its screenwriter, Efthimis Filippou, and the casting of Yorgos Stefanakos. Filippou is renowned for his collaborations with Yorgos Lanthimos, having penned screenplays for critically acclaimed and often bizarre films such as Dogtooth, The Lobster, and The Killing of a Sacred Deer. Stefanakos, a non-actor whose name is conspicuously absent from promotional materials, has previously appeared in Lanthimos’s Poor Things and Kinds of Kindness. His connection to Lanthimos extends beyond acting; Stefanakos is Lanthimos’s lawyer and long-time friend, and also the romantic partner of Filippou. This intricate web of associations suggests a shared artistic sensibility and a comfort with exploring the absurd and the transgressive.

While Filippou’s previous works are often characterized by their detached, clinical approach to societal critique, Aïnouz, a 60-year-old Brazilian gay director, brings a distinct perspective to Rosebush Pruning. He describes the screenplay as having a "campness" and a "queerness" that differentiates it from Filippou’s other collaborations. "There’s a sense of humour and irony that’s very queer," Aïnouz stated in a recent interview. "There’s this campness that isn’t in the other films he’s written. There’s a queerness here that’s not only about disruption, but it’s a very sentimental way of looking at queer characters." This assertion hints at a deeper emotional undercurrent beneath the film’s shocking surface, potentially offering a more nuanced portrayal of marginalized identities even within a narrative of extreme dysfunction.

Deconstructing the Patriarchal Family Structure

Rosebush Pruning is explicitly framed by Aïnouz as a transgressive comedy that aims to deconstruct social norms and familial structures, echoing the spirit of Lanthimos’s early works. However, Aïnouz’s approach is notably different. He describes the film as an "autopsy of the patriarchy," focusing on the "consequences of how poisoned these characters can be." The narrative centers on a wealthy, isolated family living in a sprawling mansion, where the father (Tracy Letts) concocts a fantastical story about the mother being eaten by wolves. The sister, Anna (Riley Keough), displays an unsettling intimacy with each family member’s desires, while the younger brother, Robert (Lukas Gage), channels his repressed energy towards his elder sibling, Jack (played by an actor whose name is not immediately clear in the original material, but implied to be part of the ensemble). Jack, the most "normal" of the bunch, attempts to escape the family’s suffocating grip by dating an outsider, Martha (Elle Fanning).

The film’s genesis traces back to 2020 when Aïnouz commissioned Filippou to write a loose adaptation of Marco Bellocchio’s 1960 Italian film, Fists in the Pocket. Bellocchio’s film, a black-and-white classic, was groundbreaking for its use of neorealist aesthetics to explore themes of incest and murder within a family. While Rosebush Pruning adopts the core narrative skeleton, Filippou’s script injects a heightened level of transgression and a distinctly contemporary sensibility. The observation made within the film about Greek men having "beautiful dicks" is a notable departure from the original, further emphasizing the new script’s focus on sexuality and desire within the familial context.

Visual Opulence Amidst Moral Decay

Despite the disturbing subject matter, Rosebush Pruning is visually striking. Aïnouz, known for his evocative visual style in films like Firebrand, Motel Destino, and The Invisible Life of Euridice Gusmão, imbues Rosebush Pruning with vibrant, almost hyperreal colors. The film opens on a Spanish beach, with characters discussing fashion brands, immediately establishing a world of superficial wealth and aesthetic preoccupation. The cinematography captures the hypnotic blues of the sea and the rich, blood-red hues of roses, creating a stark contrast between external beauty and internal rot.

The characters, described as "fashion-obsessed," inhabit opulent surroundings, draped in designer gear. Ed (Callum Turner), a central figure in the film’s initial interactions, fantasizes about designer shoes falling from the sky, while Martha is derided for her less high-end fashion choices. This visual opulence, coupled with an emphatic soundtrack featuring artists like the Pet Shop Boys and composer Matthew Herbert’s Spanish guitar, creates a sensory experience that is both alluring and unsettling. "What triggers the story is horrendous, so the film had to be beautiful," Aïnouz explained. He draws parallels to the Grimm brothers’ fairytales, which often emerged from dark historical periods, suggesting that beauty can serve as a vehicle to explore even the most disturbing themes.

The "Autopsy of the Patriarchy" and Male Toxicity

Aïnouz’s exploration of male toxicity in Rosebush Pruning is a deliberate departure from his previous focus on female characters, a shift he initiated after receiving consistent praise for his portrayals of women in films like Motel Destino. "I don’t think there’s been a time in the world where absurdity has been in our daily lives as much as now. I think it began with the pandemic," Aïnouz commented, suggesting that the film’s heightened reality reflects a contemporary societal condition.

The film aims to examine the psychological impact of patriarchal structures and abuse on men within a family. Aïnouz emphasizes that the characters, despite their often repulsive actions, are not inherently bad but are products of a "certain poison" that has corrupted them. He seeks to portray them with a degree of warmth and realism, a stance that reportedly met resistance from some actors during the casting process. "It’s tricky to talk about very rich people without being judgmental," Aïnouz admitted. "The film is about whiteness, privilege, and the super-wealthy. But what I mean by warmth is that I don’t dislike these characters. A lot of people will say they’re disgusting and vapid. Well, they’re the product of a certain poison that makes them like that." This approach underscores Aïnouz’s intention to provoke empathy rather than outright condemnation, encouraging a deeper understanding of the systemic forces that shape individual behavior.

Reception and the Director’s Vulnerability

Rosebush Pruning has been met with a divided reception, a sentiment Aïnouz anticipated. While the script circulated widely and attracted interest, not all were equipped to navigate its challenging themes. At its premiere at the Berlin Film Festival, critical reactions were reportedly sharp, leading Aïnouz to largely avoid online commentary due to his profound sensitivity to reviews. He likened the interview process to a therapeutic session, highlighting the personal toll that creative vulnerability can take.

"I am completely opening up to you," he stated, "I am so sensitive to reviews, particularly in the age of social media. I’m just happy to put the film out there." He recalled a debilitating experience with a negative review of his first feature, which paralyzed him for two years. This personal vulnerability extends to his connection with his characters. "I don’t have kids. But I feel like these are my kids," he confessed. "I wonder what it’s like if someone’s told their kid doesn’t look good. I feel like that. It’s not even the movies – it’s the characters. There’s not one character I’ve done that I didn’t love or wasn’t intrigued by. I will never have the thick skin you need for that."

Despite the critical reception and the challenging nature of the film, Aïnouz remains proud of Rosebush Pruning. He views it as a subtle, yet potent, commentary on the patriarchy, a "baby" that can stand on its own from its inception. The film’s deliberate disruption and visceral imagery are intended to linger, prompting audiences to confront uncomfortable truths about family, privilege, and the pervasive effects of societal decay. As Aïnouz looks towards his next project, Last Dance, a period drama set on a gay cruise with Adrien Brody and Rachel Zegler, his commitment to exploring complex human experiences with both visual artistry and emotional honesty remains unwavering. Rosebush Pruning stands as a testament to his daring artistic vision and his willingness to engage with the darkest corners of the human psyche.