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Werner Herzog’s latest film “Bucking Fastard” presents audiences with a peculiar viewing experience that oscillates between moments of genuine artistry and sustained oddness. The work centers on sisters Jeanie and Joanie Holbrooke, portrayed by Kate and Rooney Mara in their first collaborative performance. The actresses deliver a synchronized portrayal of two women who speak, move, and react in identical fashion, creating an unconventional dramatic device that explores themes of human connection and isolation.
The narrative follows the sisters through a legal proceeding initiated by their neighbor Mulroney, played by Orlando Bloom, after they engage in acts of retribution against him. Their courtroom appearance showcases their distinctive synchronized behavior, which becomes central to Herzog’s exploration of their character. As the story progresses, additional neighbors become involved with the pair, while their schemes continue with varying degrees of whimsy and intent.
Herzog’s production combines elements of fairytale storytelling with surreal imagery, featuring dream sequences involving caged birds and digressions about wildlife and geology. The film’s Irish setting exists in a deliberately distorted form that prioritizes visual and thematic strangeness over conventional narrative logic. Ernst Reijseger’s diverse musical score accompanies these unconventional sequences, ranging from folk instrumentation to classical arrangements.
Despite the Mara sisters’ compelling performances and the film’s undeniable creativity, the work remains fragmented in its overall coherence. Herzog’s characteristic directorial style—marked by elaborate tangents and philosophical musings—ultimately prevents the film from achieving unified emotional resonance, resulting in an experience that fascinates even as it frustrates.
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Originally reported by Variety →
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