Something is not right with Pearl (Mia Goth), and she’ll never understand why. She’s too set in her ways, like her need to perform on haystacks while dancing with a pitchfork, or murdering animals when no one is watching. She wants to get out of her isolated farm in 1918 Texas, and experience the love that comes from performing, in being seen as an entertainer but not your truest self. It’s not likely her future star profiles would ever mention that she once impaled a duck with a pitchfork and then fed it to her best friend, an alligator (as we see when her name splashed across the screen in the opening credits).Pearl 2022 Movie Download.
Ti West’s “Pearl” is about how frightening actors can be as they feed that corrosive need to be seen at all costs. So it’s fitting that this movie’s most brilliant moment, its final shot (not a spoiler, as we know she makes it to 1979 in West’s “X”), is from Goth using her face to disturbing ends. It’s a wide, forced smile; her teeth signal happiness, while her sporadically twitching facial muscles and welling tears say something much scarier, all while frozen in that desperation. West makes us stare at it during the closing credits. It’s all wildly, wonderfully discomforting, and one wishes this character study strove for that effect more often while telling a story that’s not as nuanced as its final, silent call for help.
But for how obvious the plotting and dialogue can be from co-writers West and Goth in painting a portrait of a monster, it’s fun to interpret Pearl’s proclamations throughout her film as actor/serial killer double-speak: “The whole world is going to know my name,” “I don’t like reality,” “All I want is to be loved.” Goth makes these revelations count in primal showcases, expressed with a breathy, heavily accented voice that’s meant to make her sound kind of naive and very much innocent, a carbon copy of the countless Pearls out there.