It’s a tricky thing to tackle disturbing subject matter in a way that doesn’t feel lurid and exploitative, but in May December director Todd Haynes (Far From Heaven, Carol) and writers Samy Burch and Alex Mechanik pull it off to stunning effect. Taking clear inspiration from the real-life story of Mary Jo Letourneau, who became pregnant at 34 with the child of 12-year-old Vili Fualaau, the filmmakers spin a story of the ways our actions can affect those we purport to love and the dangers of “predatory” people, while pointing a slightly satirical finger at the sort of cheap, ripped-from-the-headlines Lifetime melodramas that twist these stories into tawdry trash to make a quick buck, in turn implicating all of us at least a little bit for watching them.

Taking place in 2015, May December follows actress Elizabeth Berry (Natalie Portman) who has travelled to Savannah, Georgia so she can follow Gracie Atherton-Yoo (Julianne Moore) before playing her in an independent film. 23 years prior when she was 36, Gracie was caught having an affair with 13-year-old Joe Yoo and was sentenced to prison, where she gave birth to Joe’s child. Now, she and Joe (Charles Melton) are married and have 2 additional children, a pair of twins who are preparing to graduate high school and head off to college. Spending time with the family and those around them, Elizabeth gradually learns more about how Gracie and Joe first met, how their families and community reacted, and the ways that meeting’s effects have rippled through time.

Moore is always excellent and this proves no exception as she plays someone who is an expert at maintaining control over the way she is perceived and treated. Likewise, Berry’s manipulations in service of getting to what she sees as the root of the “story” in service of her craft are portrayed flawlessly by Portman. Watching the two women vacillate between sweet naivety and calculated machinations is equally thrilling and disturbing. But it’s Melton who really shines. Seeing his character come to terms with the reality of his relationship and everything it cost him is heartbreaking, and the actor’s portrayal of Joe as someone who’s never truly been allowed to grow up is pitch perfect.

Haynes injection of camp throughout the story pokes fun at the ridiculousness of the plethora of low-budget movies that get churned out about these kinds of events, leading to bits of intentional tonal whiplash that manage to make the film even more discomfiting. The effect is aided by Marcelo Zavros’ over-the-top score, itself adapted from Michel Legrand’s work on 1971’s The Go-Between, which also focused on a young boy being manipulated by an older female.

Every time you start to find yourself enjoying the melodramatic psychological suspense between Moore and Portman, the movie reminds you that these kinds of occurrences have serious consequences for the people they happen to and shouldn’t be treated as cheap entertainment. May December sets out to upset its audience and succeeds at every level. Even if you don’t like it you will be haunted by it for some time to come. ★★★★★

rated r for some sexual content, graphic nudity, drug use, and language.

★★★★★ = Excellent | ★★★★ = Very Good | ★★★ = Good | ★★ = Fair | ★ = Poor