The 90th Academy Awards are on Sunday. We weigh in on our favourite films in Part 2 of our series
Go see a gutsy, bullheaded mum find out who killed her daughter
Should I recommend it to friends or not?” That was the first thought that crossed my mind when the final credits rolled on the film Three Billboards Outside Ebbing, Missouri. Sitting slouched in my cinema seat, I turned to my mum, sitting to my right, and frustratingly scowled: “Are you kidding me?” She returned my scowl with a blank look and a sigh. “There has got to be a sequel!” I exclaimed, but my brother, sitting to my left, let out a little laugh.
“It’s not about what happens next. It’s about women empowerment, isn’t it? It’s one of them kind of films.” And he was right. The ending didn’t matter. I know that now.
This film is good. My frustrations didn’t lie in its lack of quality. The storyline is strong; the characters even stronger. Three Billboards Outside Ebbing, Missouri is worth the Oscar it’s tapped to win.
Looking back now, I think my frustrations were misplaced. I wanted a concrete ending. Something that wrapped the whole film up with a pretty little bow, if you will. I didn’t get that. And initially, I didn’t like it. But it taught me that maybe I’m someone who looks for the ‘obvious’ in a film; the predictable. I didn’t like that either!
That last minute of the film instantaneously soured my views towards the 114 minutes that ran before it. For those 114 minutes, I laughed, I (nearly) cried and I sat in complete awe of some outstanding acting. But I seemed to forget all that as soon as those end credits rolled. The question of ‘what happened next?’ loomed over me. It overshadowed my views of the entire movie.
“I want to tell people to watch it, but with an ending like that, should I?” I asked. Should I willingly leave people — people I like — wanting answers to questions they most likely won’t get from this film? That was the thought I struggled with.
My frustration was a knee-jerk reaction to an unpredictable ending. Now that I’ve had time to sit back and take it in and think about those 114 minutes that caught my attention, my answer now is clear. You must go and watch it.
This film hits so many nerves. Without giving away more than what the trailer already has, the story follows that of an impassioned mother walking a path of destruction to get justice for her daughter; a daughter who was raped and murdered just eight months earlier.
Mildred Hayes, played by Frances McDormand, is a bullheaded seeker of justice. While many parents may breakdown following the brutal murder of a child, Mildred’s determination to find her daughter’s killer/s sees her play the part of the anti-hero.
Some of her actions are questionable and erratic, so much so it dilutes the sympathy connect that the audience would usually have for such a character. But Mildred is relatable.
She treads a path that many people — many parents — only dare to think about treading if such a tragic circumstance were to befall them. But she doesn’t think, she does. She is gutsy; humourous in parts, and emotional in others.
After seeing the film, I asked my mum if she would do for me what Mildred did for her daughter. She brushed me off, avoiding the question, frown in tow. My mum doesn’t like to think about the worst, so to evade the question meant she didn’t have to think about it.
But it made me think. Would I do as Mildred did? I’m pretty certain I would. I think my irrational thoughts would take control of my rational thoughts. Destruction would likely be the path I would choose too — I’m a red head, fire is in my blood. But like mum, I hope I don’t ever have to find out.
Three Billboards Outside Ebbing, Missouri, is powerful, thoughtful and gritty with a bit of humour thrown in for good measure.
It is a film that champions its central character; a character that defines female empowerment. Mildred proves just how deep the love of a mother can run.
But if you look a little deeper, it’s not just about justice. It’s also about the injustice served to an innocent mother and her innocent daughter by the very people that should be helping them. It provokes sympathy and anger. Sometimes sympathy towards the very characters you should be angry at, and sometimes anger at the very character (Mildred) you should be sympathising with.
And then comes the rolling credits; an ending I wasn’t braced for; an ending which made me point a little bit of my anger towards the director himself. Too many questions remain, but a lot is to be gained from watching this movie.