In its opening act, Nacho Vigolando’s newest genre-subverting feature, “Colossal,” plays like the world’s most unexpected “The Devil Wears Prada” sequel. Imagine if Anne Hathaway’s Andy Sachs didn’t have that last-act change of heart, compelling her to reject the empty offerings of Miranda Priestly, and instead stayed in Paris with her steely-eyed mentor and clawed her way to the top of the fashion journalism heap, one stiletto-bolstered step at a time. Hathaway’s character in “Colossal,” a burnout alcoholic writer named Gloria, could be Andy just a few years on: fabulous, broke, exceedingly wasted.
That’s where “Colossal” starts. That’s hardly where it ends.
Vigolando’s film introduces us to Gloria at her lowest ebb, unveiling an anti-heroine for the ages (and also the kind of “strong female character” that so many Hollywood movies tend to lack) and then twists her resurrection story into some mighty unexpected shapes.
That’s where “Colossal” starts. That’s hardly where it ends.
Vigolando’s film introduces us to Gloria at her lowest ebb, unveiling an anti-heroine for the ages (and also the kind of “strong female character” that so many Hollywood movies tend to lack) and then twists her resurrection story into some mighty unexpected shapes.
- 4/4/2017
- by Kate Erbland
- Indiewire
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