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Occasionally a movie comes along where both the writing and the acting strike such a magical chord that you lose yourself in the exquisite beauty of the film and the performance. Millie’s is one of those movies, and Anna Scottney As her iconic character transformation in one of the most refreshing performances to hit the screen this year. exit Michel Saville, who also co-wrote the film with Ellie Kent, draws from her own personal experience to serve Millie’s character in such a wonderful way. If Millie sounds familiar, that’s because she’s someone we can all relate to.

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The plot is relatively straightforward: a girl is a mess. A girl who defies that chaos. Girl trying to get out of this mess. Follow along. Millie had a panic attack on a plane at Wellington Airport and disembarked before the flight to New York City took off. Bad move. She had to come to New York because she had a beautiful but very competitive architecture training. what should be done? Escalating into a severe panic, she took to posting content on social media to make it look as if everything was going as planned. There is that dreamy image of an airplane and, finally, that of an alley to represent the Big Apple. From there, she plans to generate enough cash to pay for an expensive last-minute ticket to New York. The initial setup unfolds with quick ease, which is a good thing because Savill’s introduction and writing immediately hooks you in and keeps you invested in this engaging comedy/drama.

Debut movie to enjoy

Michelle Saville hails from New Zealand and Millie’s It is her first feature film. The story is based on her real-life experiences trying to travel to France to attend a film festival in conjunction with the short film Elaine leaves. I arrived a day late for that doomed flight, completely lost it and, out of sheer shame, began posting content online to make it seem as if all was well. The big difference in this movie is that Millie is a wannabe architect who suddenly feels like her entire future has been derailed.

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For the most part, Savile mostly keeps the camera on Millie Scotney as she zips around here. Millie secretly makes her way into town, worrying every step of the way. She calls a friend to see if she can pay her for the car Millie sold earlier than planned. I do not go. Millie sneaks back into her architecture school, desperate to find another way back to New York. does not work. As these emotionally charged scenes unravel, somewhere along the way, Millie’s push to surf through it turns into a fake social media posting disaster. Oddly enough, she becomes, if not hypomanic, completely obsessed about the whole mess. She is lost in her own imagination. But can she find her way out?

What a joy it is to watch our dear Millie spiral out of control. Scottney perfectly embodies the role, pulling off equal doses of grit and depth. This is one actress to watch. There’s an “out there” there, and it’s this actor who really commands the screen.

Totally Madcap Millie

Rialto distribution

Millie’s Also stars Gillian Nguyen, Chris Alosio, Sam Cotton, Karen O’Leary, and Rachel House, who delivers a cameo role as Millie’s mom. One of the most memorable scenes between Scotney and House involves a Filipino folk dance that Millie’s mother forces her daughter to do. Even here, we see more of Millie’s wobbly emotional world. How is it.

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Throughout this entertaining journey, director Michelle Saville aptly captures the human condition and insecurities we all seem to feel. And maybe you will participate. Millie is every man/woman/person in many ways. And in an age where nothing feels real unless it lives online in some way, especially on social media, modern humans tend to feel empty, lonely, confused, and anxious. This is an exceptional and grounded film that manages to capture all of that without being preachy.

As the movie enters its final turn, and Millie is run out of options, audiences become invested in this totally cringe-worthy and engaging journey. Watch how screenwriters Saville and Kent ended up surprising you with how things turned out in the end. Scottney energizes the screen at every turn, too, of course. And there’s just something about the speed and the beat and the emotional atmosphere of Millie’s that stand out, making it something particularly fun. Bravo to all and here’s to Saville, who will undoubtedly create a buzz with this debut gem.

Millie Liz Law, It opens June 30 in New York City, followed by a wider theatrical run and a VOD release.


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