Review of Three Billboards Outside Ebbing, Missouri (2017) by Myrto — 04 Feb 2018

A captivating fusion of great script-writing and great acting: I loved Mildred’s (McDormand’s) wit and boldness. The representation of women in this film is definitely contrary to stereotypes- Mildred is a **** lady and ‘Momma’ Dixon is anything but a doting mother. The film seemed to seamlessly switch between drama, comedy, dark comedy. Dixon, the emasculated, simple, racist policeman is the perfect respite from what could have been a wholly dark (and dull) storyline. You can tell a lot of thought has gone into this film- the choices of music e.g. 'The Night They Drove Old Dixie Down' playing while Dixon listens in to the potential rapist and murderer of Angela.

One of my favourite scenes is of Dixon reading Willoughby's letter in the police station, while Mildred is firing molotov cocktails at him from the opposite building. The scene is so surreal and absurd, and good and bad seem to no longer be useful categorisations. The characters are trapped in a cycle of efforts to change things, which backfire and prove futile.

I found it sort of cute how in Willoughby's letter to his wife he says 'I know they were cheating' about his daughters; even in his state of mind, his humour remains. Willoughby's character is really amiable- even when Mildred shows no compassion when he tells her he has cancer, he can take her perspective, and even pays for the billboards for the next month. Mildred's confrontation with the pastor is half expected but the confidence and certitude with which she speaks (as well as her arguments) was a pleasure to watch. However Mildred hasn't considered the cost to her son, of this ferocious search for the truth behind her daughter's rape and murder. The characters’ actions bring about the opposite of what they intend, and attempts to right wrongs are doomed to failure. The humour twists into irony.

I think what makes this film so special is how the very dark subject matter of a teenage girl's rape and murder (Mildred's daughter) brings to the fore the dysfunction lying within almost all the characters, and underlying the situation. Nothing is sugar-coated: I found it realistic how Charlie (Mildred’s ex) is at one moment about to choke her to death, and then calm resumes when the two parents empathise with one another over the loss of Angela. The audience can see how these two people at some point in life were compatible- both being witty if anything. The characters are tangled in a set-up which is impossible to escape. No matter what they say or what they do, they cannot make a difference: They remain the toys of fate.