In essence, this maiden work by writer-director Jade Halley Bartlett resembles a contemporary rendition of "The Crush" – one of those uncomfortable '90s relics that haven't aged gracefully. The narrative features a teenage Alicia Silverstone attempting to seduce an older Cary Elwes and reacting vehemently when he doesn't succumb to her charms.
The filmmakers emphasize that the protagonist, Ortega's Cairo Sweet, has reached the age of 18, yet she remains a high-school student when she develops an oddly intense relationship with her teacher, Jonathan Miller (Martin Freeman). The story unfolds as he frequently encounters her traversing the woods from the mansion she inhabits while her absent parents are away.
"I'm the scariest thing in there," she declares when questioned about walking that path alone.
Regrettably, Jonathan, captivated by Cairo's writing talent, engagement, and her reading of his largely overlooked book, disregards this warning. While the initial thrill of the discovery is understandable, it becomes apparent that the teacher is desperately lacking inspiration as he sleepwalks through life, grappling with an alcoholic, work-obsessed wife (Dagmara Domińczyk from "Succession") who barely tolerates him.
Set in a remote part of Tennessee (explaining the sporadic Southern accents), the narrative revolves around Cairo's exceptional potential and burning desire to escape, aspiring to attend Yale, juxtaposed against Jonathan's feelings of entrapment. Unfortunately, this unfolds within a gender and power dynamic that blurs the line between fantasy and insensitivity, leaving viewers uncertain if the writing is intentionally provocative or merely tone-deaf.
While the age gap has garnered attention in pre-release coverage, the most disconcerting aspect of "Miller's Girl" is the portrayal of Cairo and her friend Winnie (Gideon Adlon) as vaguely predatory pursuers of their significantly older teachers. The latter shamelessly flirts with Jonathan's best friend (Bashir Salahuddin from "Top Gun: Maverick"), who, by not immediately stepping back, appears to be playing with fire on a slightly lower setting.
Produced, among others, by Seth Rogen, the film raises eyebrows with its questionable choices. "No excuses to be made for your choices," muses Cairo in a voiceover near the end. At least in this aspect, she and the filmmakers got it right.
