Perfect Eastwood dialectics

Rating: 9/10 (1 February 2018)

The incredible potency of Eastwood's visual metaphysics (see how the camera so often in his work hovers from above like some perverted God's eyeview that watches but never interferes) meets the substantial (both existential and political) crosscutting (the aesthetic breakthrough of this entry of his) of children/adults perpetually engulfed in their sins.
The nightmarish web is further complexed by the no less than four females of the story (and the ghosts of two more, adding to an amazing number of characters for a 138-minute film), building a challenging case of a feminist, anti-feminist and tragedy-like reading of the impossibly dense text.
Eastwood dialectics at their most complete - even though perfection is a breath away due to the mechanics of a couple of male performances.