Film Review – Pruning the Rosebush (2026)

      **Rosebush Pruning, 2026.**

      Directed by Karim Aïnouz.

      Starring Callum Turner, Riley Keough, Jamie Bell, Lukas Gage, Elena Anaya, Tracy Letts, Elle Fanning, and Pamela Anderson.

      **SYNOPSIS:**

      A family plagued by genetic disorders resides in a rural estate. The film portrays their personal conflicts in an intimate manner.

      Credit should be given to *Rosebush Pruning* (from director Karim Aïnouz and featuring a screenplay by Efthimis Filippou, a collaborator of Yorgos Lanthimos, based on Marco Bellocchio’s *Fist in the Pockets*), for its imaginative and disturbingly twisted exploration of an elitist, wealthy, incestuous family whose dynamics are turned upside down while living a life of excess in Spain. The Lannisters pale in comparison to this family. However, the film ultimately leans heavily on shock value, which feels somewhat empty.

      One might argue that this emptiness is inherent in both the premise and the characters, and even though there’s not much to glean narratively other than the awful nature of its subjects, the film remains engaging through its unsettling essence. For example, at one point, sibling Anna (Riley Keough) boldly claims she knows what excites her three brothers and father, likening the revelation to Pandora’s Box; once it’s out, it cannot be retracted or forgotten, reflecting the toxic dysfunction of the family rather than shaming them.

      Fortunately, Jamie Bell's character Jack is a somewhat sympathetic figure, secretly dating Martha (Elle Fanning) and trying to escape the grand estate they inherited in order to start anew. However, there is valid concern that the blind patriarch (referred to simply as Father, portrayed by Tracy Letts with an unnerving, controlling presence) and the siblings may object to this. Undeterred, Jack invites Martha for dinner, where the family tears down her social standing, style, and physique as much as possible (with the lecherous father even urging his daughter to describe Martha’s breast size, happily participating in the perversion while boasting about his daughter’s). Predictably, things don't go well, and Jack begins to re-evaluate his commitment. Martha also has her share of selfish demands, which, while not solely motivated by greed, seem to push Jack towards making a choice.

      You might be questioning the absence of the mother in this narrative, and rightly so. Technically, she is portrayed by Pamela Anderson, who tragically died after being mauled by wolves not long ago. The film is outrageous on multiple levels. Then there’s Edward (Callum Turner), who serves as the story's narrator and a key perspective on the characters through his observations. While on a recent vacation, he encounters someone he is attracted to, even discovering he might be gay, but realizes he cannot pursue a relationship with him.

      The family's dynamics are marred by discomfort, primarily driven by Father, who relies on his children for care but also for sexual fulfillment. The third sibling, Robert (Lukas Gage), comes across as even more lecherous and incestuous than Anna, highlighting a satirical aspect of those who crave attention most. While the film indulges in these unsettling sexual themes, it compensates with a visually appealing atmosphere, aided by an electronic score that underscores some of the more absurd moments.

      Ultimately, family members plot to murder one another as a means to flee their hellish existence or to manipulate their circumstances to their advantage. One death scene stands out as one of the year's funniest, and even hours later, it elicits laughter; I wish the film had maintained that level of dark humor instead of merely exploring taboo subjects for shock value without deeper meaning, asking, “Isn’t this family messed up?” Something hard to look away from shouldn't remain so tepid or reduce itself to a string of grotesque incidents, producing little insight other than wealthy individuals engaging in disturbing behavior while insulated from reality.

      The third act, in particular, falters as many characters’ actions and motivations lack clarity. *Rosebush Pruning* reflects what happens when screenwriter Efthimis Filippou lacks Yorgos Lanthimos's ability to add layers and genuine characterization to the madness. Nonetheless, its distinctively and unabashedly tasteless nature almost makes it worth recommending.

      Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

      Robert Kojder