In quiet, intimate ways, it is one of the most startling, haunting films you'll see all year.

Durkin intersperses the present-day scenes with increasingly revelatory flashbacks from Martha's two years in the cult.

With a diegesis mapped along the mental contours of its protagonist, Martha Marcy May Marlene harkens back to Pasolini's notion of the cinema of poetry--and achieves it beautifully.

A psychological drama that builds its labyrinth with a fairly organic performance by Elizabeth Olsen, but its narrative often remains in an overly calculated zone that, in its register of circularity, never takes risks. [Full review in Spanish]