The screenplay by Matthiessen and co-writers Martin Pieter Zandvliet and Anders Frithiof August is compelling up until the melodramatic, credulity-straining final act, although the characters, apart from Emma, feel underdeveloped.
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The film unapologetically warns us at every turn that fashion is nothing but a business, fueled by naiveté and rape.
Matthiesen offers no easy answers, but The Model paints a decidedly unglamorous picture, while pulling back the curtain on the exploitative realities of the business.
Mr. Matthiesen seems as if he might have been trying to make an indictment of sexism and exploitation in the fashion world, but if so he doesn’t hit the theme nearly hard enough.
Even as a late night Netflix viewing for fashion aficionados who enjoy a scandalous bit of melodramatic trash, The Model doesn’t offer anything new, interesting, or engaging.
The descent into melodrama in the final act increases the tension but, in relying on some unexpected actions by several characters, also damages the film’s credibility.