Poland, the 1980s and the development of its leading young women provide a multi-genre milieu in which the film’s cannibalistic mermaids can sing their sultry, often violently funny siren songs to their dark hearts’re content.While Ariel the mermaid Disney princess finds empathy with young girls who watch her struggle with feelings of longing and entrapment, The Lure’s flesh-hungry, viscous, scaly fish-people are a gross, haptic and ultimately effective metaphor for the maturation of this same audience.
Regardless of how enraged or enchanted you were with movies these past 11-ish months, we still hope that you can find plenty to love in the following.
In the water, the pair are innocent to the ways of humans (adults), but on land develop slimes and odors unfamiliar to themselves and odd (yet strangely attractive) to their new companions.
Reckoning with bodily change, especially when shoved into the sex industry like many immigrants to Poland during the collapse of that country’s communist regime in the late ’80s, the film combines the politics of the time with the sexual politics of a girl becoming a woman (of having her body politicized).
Years ago, he was a novelist of some acclaim—he even won a prestigious literary prize—but lately, the muse has run dry, leaving Ryota busily tending to his gambling addiction while taking a job as a private detective.
And that’s when Ryota is not snooping on his ex-wife Kyoko (Yoko Maki) to see who she’s dating now, even cajoling his 11-year-old son Shingo (Taiyo Yoshizawa) to question her about how serious this new relationship is.