Thou Wast Mild and Lovely

There are places you go, where the things you do will matter to a lot of people. Then there are places you will go, where the things you will do matter only to a very few. But to those few, they will matter - a lot.


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  • ★★★★ review by Kurdt on Letterboxd

    Erotic on a sort of expressionistic level, probably more suspenseful than most contemporary horror films, and I wouldn’t even necessarily call this a horror. Amid the surreality and weirdness there’s also subtle commentary on stockholm syndrome. Embraces its oddities and weird charm the way more films should.

  • ★★★½ review by Josiah Morgan on Letterboxd

    I need to first of all make it clear that the incredible final twenty or so minutes of this film is what makes me like this as much as I do - the preliminary fifty minutes of lead up is, while essential, not particularly great overall.

    One of the most charmingly, abstractly disorienting films I've watched for a long time. The passage of time is magically done. I guess you could say it's quite... mild and lovely. **ba dum tss** In the end it becomes a moving statement on not much at all really. I like it, but only to some degree - perhaps in an appreciation for the craft; in the actors absorbing their characters into themselves, in Josephine Decker creating a vison of the most complete form. At most points, though, the film as a whole feels obstructed. I don't know by what - Decker has the craft to one day make a film of the highest order.

  • ★★★★ review by David Grillo on Letterboxd

    A farmers daughter story where we really get into the minds of the characters and their odd ball isolation where a farm hand experiences a freedom from body and mind through this rural circumstance of the farmers daughter. Where the isolation and eccentricities of the farmers rub off on you the freedom I referred to expressed through a connection to the animals that feeds into the animal of man and woman and otherwise dangerous or depraved actions lose their consequence and are in close proximity the only obligation is to the farm itself. The daughter waits for her lover perhaps it is the farm hand but it is also expressed through an orgasmic connection to the farm itself an animalistic connection. Through the land she is completely isolated and free the farm and her father in a lot of ways unfold as an extension of all she knows. I imagine that she sees Akin and the men who've come to the house before him in a sort of abstract a man with a wife and son who has now come to spend time on her farm and in her world. But also the firm reality of her actions and the fathers kicks in and the oddball psychosexual pay off of the farmers daughter story takes a few turns. There is a realistic human element but for the most part the story stays the same and still feels real even though the film remains grounded in the most common of fantasies. Decker lets the ordinary man in this story become complicated and draws from his experience the specific sexual nature alive in the farm and all of its nastiness.

  • ★★★½ review by b rad on Letterboxd

    Upstream Colour meets Tom at the Farm, but also its own creation. Impressed.

  • ★★★★ review by Gustaf Ottosson on Letterboxd

    Nr 120 on All Films I Saw 2015 (Ranked)

    Beautifully shot independent that clearly illustrates the genius of spening 85% of the runtime building realism, for something to be gutpunching. Well done Miss Decker!

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