Dollhouse

One of the most disturbing portrayals of adolescence since Larry Clark’s Kids, Kirsten Sheridan’s free-form drama Dollhouse captures the hedonistic, rebellious nature of youth in more ways than one. Claustrophobic scenery, jagged cuts, improvised performances and a blaring soundtrack infuse this low-budget film with a kinetic, adolescent energy. As with most projects driven by pure pubescent passion, you can’t help but suspect this film might have benefited from some adult boundaries.
The threadbare story is elevated by the strikingly naturalistic atmosphere. When a group of unruly inner-city teens break into a luxurious Dublin home, all hell predictably breaks loose. Amidst the drugs, drinks, kisses, fights and smashed ornaments, a more mysterious force is at work. When it’s revealed that the quiet and enigmatic Jeannie (Seana Kerslake) once lived in the mansion, the group dynamic changes into something stranger and more sinister.
With an almost feral aggression, the young actors let loose, and Dollhouse proves a chaotic, unpredictable storm of ebbing tension. Explosive alpha-male Johnny Ward is terrifying, especially when the rest of the group follow his violent example, leading to some borderline sadistic hazing sequences. But juxtaposed with these scenes are tender moments between the group – as well as intimate, dream-like visions. These jarring emotional shifts offer a believably exhausting portrayal of the complexity of teen relationships. Social divides are also touched upon. What Richard Did star Jack Reynor again shines as a quietly empathetic example of his more affluent class.
Bold, messy, extreme, flawed and intriguing, Sheridan’s film proves a brave, if frustrating, experiment.