Entangled

Milena Lurie’s melodrama Entangled may as well be titled White People Problems. It deals with the pseudo-intellectual rumination of an affluent young woman. Upon stepping out of her established comfort zone, she finds herself at an emotional crossroads. Her loving but boring boyfriend, her stable job that allows her to live in an apartment with a view of NYC – she’s putting everything at risk (sort of) in her search for self-discovery involving a sexual encounter and a reunion with an old flame.

“…deal with the… ruminations of an affluent young woman, who finds herself at an emotional crossroads…”

Sounds like something you’ve seen before? There’s nary a shred of originality to be found in this sordid, sterile excuse for a “complex character study.” Entangled’s basically Fifty Shades of Grey, minus the focus on kinky sex. It’s difficult to empathize with characters so devoid of actual real feeling, who incessantly wax poetic about obvious things.

The aforementioned heroine is the French Marin (Ana Girardot). She feels disconnected from reality, constantly informing us of her perturbed state of mind via voiceover narration. The boring boyfriend is Mark (Peter Mark Kendall). To add a dash of “poignancy,” Lurie saddles her character with a dreary past: a slew of abortions and a miscarriage. A wild night out makes Marin reevaluate her priorities, while the arrival of the sexy Max (Grégory Fitoussi) pushes her over the line.