Margaret

“Now no matter, child, the name: 
Sorrow’s springs are the same.“..But then again maybe a name should be mattered, for what’s in one is actually quite a lot, semiotic ally speaking; this film’s name to it especially. You could understandably question why that would be if you simply looked at the poster and saw the picture’s single female protagonist under its proper noun title, but funnily enough Margaret is actually a film focused on a character called Lisa Cohen.

She doesn’t go by Margaret as a none-de-plume, no one mistakes her for a Margaret nor does the name mean much to most of the characters. There is one that goes by the name, but nothing is ever made of that fact; whereas Lisa Cohen is comparatively made into a catchphrase of sorts, so often does it get said out aloud. No Margaret is instead the protagonist of a poem taught during one of the films many student-in-class sequences, though not until a good two hours of film have passed. If the first part of that sentence didn’t frighten you off and the second doesn’t seem too scary then stick around, because Margaret is the kind of movie that may well have you pretentiously shouting ‘Bravi!’ despite the drain and dolor of its experience.