The Misogynists

The Misogynists is a thought-provoking, dark comedy/drama set in a single location - a hotel room in Manhattan, New York. The movie is grounded in dialogue, with much of the film's content residing in the intense interplays between characters. This 2017 film is directed by acclaimed filmdirector Onur Tukel and brilliantly enacted by experienced actor Dylan Baker, along with Lou Jay Taylor and Christine M. Campbell.

The plot centers around two co-workers, Cameron (played by Dylan Baker) and his young protégé, Baxter (played by Lou Jay Taylor). For most of the movie, they are holed up in Cameron’s hotel room, celebrating the unexpected presidential election victory. The movie unfurls over one night, keeping the time frame compact and the tension taut.

Dylan Baker embodies the character of Cameron with aplomb, portraying an irascible, hard-drinking businessman with a deeply cynical view of the world. His performance is unnerving, with Baker managing to evoke both repulsion and fascination. As the night progresses, his character unravels, revealing the profound negativity and prejudice he harbors. His views on women, politics and the world are communicated without restraint, pulling no punches.

Opposite to Baker is Lou Jay Taylor, playing the role of Baxter, a younger, more idealistic counterpart to Cameron. Taylor successfully plays out the evolving dynamics of a character who is initially subdued, over-awed and somewhat intimidated by his older, more flamboyant co-worker, but who eventually forms his own opinions, setting the stage for an engrossing clash of perspectives.

The rest of the ensemble cast, including Christine M. Campbell, further enhances the film’s dynamic. Campbell delivers a compelling performance, masterfully depicting one of the women who unexpectedly enter the hotel room, confronting the duo’s misogynistic views and causing ripples in the pool of tension within the room.

In The Misogynists, Onur Tukel takes a bold and unflinching look at the polarities that exist within American society. It offers a window into the mindset of certain sections of society, surfacing cringe-worthy instances of prejudice, especially focusing on misogynistic views. Tukel uses a sense of humor to highlight and lampoon some of these discriminatory perspectives. However, he also digs deep into their implications, making the audience question and reflect.

The movie's strength lies in its ability to evoke raw emotions within viewers. It straddles the thin line between extremities of emotions - from loud laughter to deep-rooted frustration and anger. This is not a film for the faint-hearted, nor those expecting a traditional narrative arc with a clear resolution. The Misogynists exposes, provokes, and challenges in equal measure, stirring up a pot of discomforting but necessary introspection.

The setting is minimalistic yet effective. Relegated to a single claustrophobic hotel room, the setting is symbolic of the closed-minded view of Cameron, aiding in maintaining the intensifying tension grounding the narrative. The viewer, like the characters, is unable to escape the engulfing words, ideas, and conflicts. The cinematography is equally commendable, effectively using lighting, angles and space to further enhance the narrative's mood and intensity.

On the technical front, the movie is expertly edited; the pace neither dragging nor rushing, but setting just the right rhythm for the story's unraveling. Its tight, provocative dialogue makes the narrative grip its audience, refusing to let go.

The Misogynists is a movie that takes a raw, unrelenting gander at unpleasant, difficult aspects of society, filtering them through the lens of biting humor. It does not shy away from showing the uglier sides of humanity, thus making it a compelling, if somewhat uncomfortable, watch.

Ultimately, this 2017 film serves as a mirror to reflect upon some deeply ingrained societal prejudices and stirs up debates and discussions about misogyny and discrimination. Thoughtful, challenging, and unapologetically candid, The Misogynists is a dive into the deep end of social commentary, underlining the power of cinema to trigger reflection and dialogue.