---
title: "May December"
year: 2023
kind: "film"
canonical: "https://film.one/film/may-december"
fi1m_id: "may-december"
imdb_id: "tt13651794"
tmdb_id: 839369
wikidata_id: "Q115367024"
fi1m_score: 84
critics_score: 85
critics_reviews: 15
published: "2026-09-10"
updated: "2026-09-18T08:38:04.571235+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# May December (2023)

Directed by Todd Haynes · 1h 57m · MPA R · Drama

## Identity

May December

- **Canonical:** https://film.one/film/may-december
- **Type:** Film
- **Fi1m ID:** may-december
- **IMDb ID:** tt13651794
- **TMDB ID:** 839369
- **Wikidata ID:** Q115367024
- **Same entity:** https://www.imdb.com/title/tt13651794/, https://www.themoviedb.org/movie/839369, https://www.wikidata.org/wiki/Q115367024

**Fi1m score: 84** · Critics 85 from 15 reviews

*In a sentence:* Two women fight over who gets to be the victim while the actual victim raises butterflies in the next room

> Todd Haynes’s drama about an actress researching a woman who went to prison for a relationship with a schoolboy is sly, chilly and funny. Moore and Portman circle each other well; Charles Melton, as the boy grown up, is the reason to watch.

## Synopsis

Elizabeth (Natalie Portman), a television actress preparing to play a real woman in an independent film, travels to Savannah to spend time with her subject. Gracie (Julianne Moore) was a married woman working in a pet shop when she was caught with a thirteen-year-old boy. She had his child in prison and married him on her release. That boy, Joe Yoo (Charles Melton), is now thirty-six; their twins are about to leave school. Over a week of barbecues, cake deliveries and graduation preparations, Elizabeth studies Gracie’s voice, her clothes and her version of events, while Joe Yoo watches the caterpillars he raises turn into butterflies. Todd Haynes directs from a screenplay by Samy Burch.

## Review

Elizabeth (Natalie Portman) is a television actress with an independent film coming up, and she has come to Savannah to study the woman she will play. More than twenty years ago Gracie (Julianne Moore), married with children and working in a pet shop, was caught with a thirteen-year-old boy who worked there. She had his baby in prison, married him when she got out, and has lived with it since. The boy is Joe Yoo (Charles Melton), now thirty-six. Their twins are about to graduate. Todd Haynes, working from Samy Burch’s script, opens on a barbecue at which a box of excrement is left on the step, and nobody is much surprised.

It is worth your evening, and colder than the reviews make it sound. Haynes shoots a tabloid story in the manner of an afternoon soap. Christopher Blauvelt zooms slowly in on a face, or a fridge; Marcelo Zarvos’s piano, adapted from Michel Legrand’s score for *The Go-Between*, comes thundering down on nothing at all. The famous instance is Gracie opening that fridge and saying that she does not think they have enough hot dogs. We laughed out loud. Then we noticed that the people we were laughing at had done something terrible and turned it into a household.

Moore has worked with Haynes since *Safe* in 1995 and knows how much he wants. Her Gracie has a faint lisp, tears that arrive on cue when she is cornered, and a settled belief that she is the injured party. She bakes cakes the neighbourhood buys, we suspect, out of pity. Portman’s Elizabeth takes all of this down in a notebook, and the film’s nastiest pleasure is watching her acquire Gracie’s mannerisms one at a time: the lisp, the tilt of the head, the lipstick. April Napier eases the two women into the same washed pastels, and Blauvelt keeps putting them in the same mirror, so that by the midpoint we occasionally had to check which one was speaking.

We did not expect to be moved. Melton did it. Joe Yoo is a big man who moves through his own house as if nobody has told him he lives there. He raises monarch caterpillars in mesh boxes and talks about them the way other men talk about their children. He texts someone late at night and will not say who. Watching him at the table with his shoulders in, while his wife tells a stranger what a fine father he is, we wanted to look away. Melton plays him almost entirely without raising his voice, and it is the best thing in the film.

Elizabeth is the weaker part. She has a job to do in the plot and not much life beyond it: a boyfriend on the phone, a director who wants the film to be about the boy. Portman is exact, but exactness is all the part allows, and in her set pieces, a talk to a school drama class among them, we could see the writing under the performance. The soap grammar wears too. A zoom that made us laugh in the first twenty minutes is pointing at the joke by the sixtieth. Affonso Gonçalves cuts it briskly and 117 minutes is right. The second half tightens as the research turns into something else, and the last scene we will not describe; we thought it a shrug for a day and have since changed our minds.

Sam Lisenco’s house does a lot of the work: wide, bright, a kitchen island Gracie holds like a pulpit, the twins (Elizabeth Yu and Gabriel Barbosa) packing upstairs. Cory Michael Smith has a couple of scenes as Georgie, Gracie’s son from her first marriage, and makes him the one person in it who says what everyone else has arranged their faces around. Set beside [*Far From Heaven*](https://film.one/film/far-from-heaven) and *Carol*, this is the drier Haynes, and the crueller one.

It carries a 15 certificate and nothing in it is graphic; the discomfort is all in what gets said over dinner. Watch it with someone who will argue with you afterwards about which of the two women is worse. The film has decided that is the wrong question, and the answer is sitting quietly at the end of the table.

*Fi1m score 84, published 10 September 2026.*

## What the critics say

The reviews for May December are warm and closely bunched. Most critics describe a dark comedy dressed as melodrama, and the praise clusters on two things: the tone, which many say Haynes keeps steady between camp and something colder and sadder, and the three lead performances. Moore and Portman are admired for mirroring one another in a slow battle of wills, but it is Charles Melton who is singled out most often, several critics calling his fragile Joe the film’s centre and the reason its comedy never quite lets you off. A few also note the deliberately flat, daytime-soap grammar of the shooting.

Reservations are rare and mild. The Hollywood Reporter finds the approach detached and remote, muting the emotion beneath the performances, and Collider, the one mixed notice, thinks the comedy and tragedy never properly fuse. Nobody disputes the acting; the disagreement, such as it is, concerns how much the film wants you to feel.

## Straight answers

**Is May December worth watching?**

*May December* is worth watching for anyone who likes their drama sly, chilly and uncomfortable, and we scored it 84. Moore and Portman circle each other well, but Charles Melton, as the boy grown into a quiet, cowed man, is the reason to see it. Watch it with someone who will argue with you afterwards.

**How long is May December, and what is it rated?**

*May December* runs 1h 57m and is rated R by the MPA in the US. It is a drama film.

**Where can I watch May December in the US?**

*May December* is streaming on Netflix in the US. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is May December, and is it suitable for children?**

*May December* carries a UK 15 certificate and nothing in it is graphic; the discomfort is all in what gets said over dinner. Its subject is a woman who had a relationship with a thirteen-year-old boy and later married him, so it is not for children, and teenagers should know what they are sitting down to. The squeamish will find no violence, only a long, cold unease.

**How does May December compare to Imitation of Life?**

*May December* is the drier and crueller of the two, a tabloid story shot in the manner of an afternoon soap, while [*Imitation of Life*](https://film.one/film/imitation-of-life) is a glossy Broadway weepie with a much harder film running underneath it. Haynes has been studying Sirk for decades and borrows his mothers, daughters and performances, but withholds the tears. Choose Sirk if you want to weep; choose Haynes if you want to squirm.

**What should I watch after May December?**

After *May December*, try [*Persona*](https://film.one/film/persona) (1966, Fi1m 89): Bergman’s nurse and actress trade faces on an island; the mirror shots start here. Then [*Notes on a Scandal*](https://film.one/film/notes-on-a-scandal) (2006, Fi1m 75): Judi Dench watches Cate Blanchett ruin herself with a pupil, and takes notes; and [*Imitation of Life*](https://film.one/film/imitation-of-life) (1959, Fi1m 86): Sirk’s melodrama of mothers, daughters and performance; Haynes has been studying it for decades.

### Reviews we read (27)

- **Little White Lies**, Hannah Strong (4/5/4): Haynes delivers a thorny, compelling psychodrama with sharp dialogue and strong turns from the leads, especially Melton. The film balances dark humor, melodrama and genuine emotion while examining grooming and denial. [Read](https://lwlies.com/reviews/may-december)
- **The AV Club**, Manuel Betancourt (A): The critic calls it a triumph and intoxicating portrait, praising the transcendent performances and masterful meditation on performance and predation. [Read](https://www.avclub.com/may-december-review-an-intoxicating-portrait-of-an-emo-1850963812)
- **Film Comment**, Molly Haskell (85/100, inferred): Haskell praises the film as a mordant modern melodrama of desire, deception, and delusion that showcases Haynes's evolving style toward more emotionally involving yet intellectually sharp work. She singles out the extraordinary performances of Julianne Moore and Natalie Portman for their ability to portray impenetrable women whose identities blur through mirrors and manipulation. [Read](https://www.filmcomment.com/blog/mirror-mirror-todd-haynes-may-december-nyff61-review/)
- **Los Angeles Times**, Justin Chang (85/100, inferred): The critic calls the film a slippery, superbly acted tour de force that offers a self-aware critique of tabloid entertainment while bridging drama, deconstruction, and comedy through strong performances. [Read](https://www.latimes.com/entertainment-arts/movies/story/2023-11-16/may-december-review-natalie-portman-julianne-moore-todd-haynes-netflix)
- **Radio Times**, Max Copeman (80/100, inferred): Haynes offers a wickedly funny melodrama with Portman and Moore mirroring each other in heightened performances. Melton shines as the man caught between them in a watchable drama blending soap-opera and art-house elements. [Read](https://www.radiotimes.com/movie-guide/b-wysyi4/may-december)
- **Time Out**, Dave Calhoun (4/5): Haynes crafts a playful yet serious dark-edged melodrama with Moore and Portman in compelling roles. The film explores the age-gap relationship and the actress's intrusion with originality and intrigue. [Read](https://www.timeout.com/movies/may-december-2023)
- **Vulture**, Bilge Ebiri (80/100, inferred): The critic describes it as very funny yet deeply uncomfortable, a booby trap that plays with emotions and tonal shifts. [Read](https://www.vulture.com/article/todd-hayness-may-december-is-a-deeply-uncomfortable-movie.html)
- **Empire**, Steph Green: The critic views it as a skilful satire of suburban propriety and the nature of performance, balancing campy melodrama with an icy sadness. It singles out the lead performances, particularly Charles Melton’s emotionally nuanced work as the film’s nucleus. [Read](https://www.empireonline.com/movies/reviews/may-december/)
- **Evening Standard**, Simran Hans: The critic describes Todd Haynes’ wry, darkly funny drama as one that lays bare a family’s past through an actress researching her role. It singles out the performances, especially Charles Melton’s fragile portrayal of Joe, and the film’s self-aware style of performance and manipulation. [Read](https://www.standard.co.uk/culture/film/may-december-film-review-natalie-portman-julianne-moore-b1120603.html)
- **Screen Daily**: Haynes blends metafictional psychodrama with melodrama through strong performances by Moore and Portman. The sly, gradual unfolding and mirror-play between the leads suggest solid prestige appeal. [Read](https://www.screendaily.com/reviews/may-december-cannes-review/5182381.article)
- **Sight and Sound**: The critic finds the film a dark comedy probing truth, self-delusion and society's demand for remorse. Moore and Portman deliver compelling performances in a story that highlights moral ambiguity and media complicity. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/may-december-todd-hayness-dark-comedy-explores-thin-line-between-truth-self-delusion)
- **The Guardian**, Peter Bradshaw: The film is a deft tonal juggling act that is serpentine, queasily unsettling and very funny. It features sublime performances from Julianne Moore and especially Natalie Portman that are bracingly unsympathetic and wildly enjoyable. [Read](https://www.theguardian.com/film/2023/nov/18/may-december-review-todd-haynes-natatlie-portman-julianne-moore)
- **The Hollywood Reporter**, David Rooney: The critic finds the drama interesting but detached and remote, praising the dazzling performances of Portman and Moore while noting the approach mutes emotional volatility. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/may-december-review-natalie-portman-julianne-moore-todd-haynes-1235497149/)
- **The i Paper**, Christina Newland: The critic calls the film a campy black comedy with the makings of a classic, praising Haynes for flipping themes of manipulation and predation. It highlights the strong performances from Moore, Portman, and especially Melton, whose emotional arc provides the heartbreaking core. [Read](https://inews.co.uk/culture/film/may-december-review-todd-hayness-campy-black-comedy-has-the-makings-of-a-classic-2753767)
- **The New York Times**, Manohla Dargis (Critic's Pick): The critic finds Todd Haynes’s sly, unnerving drama a shimmering Gothic tale of lies and identity, with three knockout leads and destabilizing humor that complicates its tabloid premise. [Read](https://www.nytimes.com/2023/11/30/movies/may-december-review-natalie-portman-julianne-moore.html)
- **The Telegraph**: The film is a teasing, ticklish, fascinatingly layered study of defined identities and isolation, with brilliant performances from the leads in a tale about consent, denial and exploitation. [Read](https://www.telegraph.co.uk/films/0/may-december-cannes-review-julianne-moore-natalie-portman1/)
- **The Times**, Kevin Maher (★★★★☆): Haynes’s dark comedy features brilliant performances as Moore’s character is haunted by her scandalous past and Portman arrives to research the role. [Read](https://www.thetimes.com/culture/film/article/may-december-review-natalie-portman-and-julianne-moore-dominate-qqb8lnwqk)
- **Total Film**: The critic finds May December wickedly funny yet truly unsettling, praising how it walks a tonal tightrope with compelling style. It highlights Haynes’ balance of true-life complexities with theatrical melodrama and the film’s absorbing provocations. [Read](https://www.gamesradar.com/may-december-review/)
- **Variety**, Peter Debruge (Critic's Pick): The critic praises the layered, generous drama for unpacking America’s obsession with scandal and the actor’s process through a direct yet endlessly open-to-interpretation look at blurred identities. [Read](https://variety.com/2023/film/reviews/may-december-review-natalie-portman-julianne-moore-todd-haynes-1235619614/)
- **Deadline**, Pete Hammond (90/100, inferred): The critic calls the film a deliciously entertaining showcase for its two leads and praises the smart contemporary spin on classic melodrama. Portman and Moore are singled out for their brilliant cat-and-mouse performances. [Read](https://deadline.com/2023/05/may-december-review-natalie-portman-julianne-moore-todd-haynes-1235374233/)
- **The Playlist**, Charles Bramesco (A-): The critic highlights the film's expert balance of irony and sincerity in exploring a taboo relationship through an actress's research. Strong performances, particularly Melton's vulnerable portrayal, and Haynes' tonal mastery stand out. [Read](https://theplaylist.net/may-december-review-an-actor-prepares-in-todd-haynes-superlative-age-gap-dramedy-cannes-20230521/)
- **Consequence** (85/100, inferred): Todd Haynes turns up the tonal dial from contemplative character study to something approaching camp. It singles out the master class in discomfort and assured direction as well as Melton's fantastic performance. [Read](https://consequence.net/2023/12/may-december-review/)
- **Paste**, Farah Cheded (8.5/10): May December pulls off an audacious clash of style and substance with tonal delicacy between high camp and twisted psychological drama. It praises the way the film maintains a sense of tragedy thanks to Melton's performance while delivering wry commentary on consuming scandals. [Read](https://www.pastemagazine.com/movies/todd-haynes/may-december-review)
- **The Ringer**, Paul Thompson (85/100, inferred): The film is both a satire of true crime properties and a rich exploration of nuances in performance and character. It places the film within shouting distance of Haynes’s best work for its layered text. [Read](https://www.theringer.com/2023/12/06/movies/may-december-todd-haynes-natalie-portman-julianne-moore-charles-melton)
- **/Film**, Lex Briscuso (8/10): The critic commends the high melodrama blended with emotional depth and strong performances from Moore, Portman, and Melton. Haynes directs with intensity, using the score and tone shifts effectively. [Read](https://www.slashfilm.com/1299714/may-december-review/)
- **The Skinny**, Jamie Dunn (★★★★): Dunn calls the film a delicious new melodrama that combines melodrama and dark comedy into a compelling, hilarious, and heartfelt character study. He singles out the electric performances of Natalie Portman and Julianne Moore as they engage in a passive-aggressive battle of wills, captured through Haynes's flat daytime-soap film grammar. [Read](https://www.theskinny.co.uk/film/new-releases/may-december)
- **Collider**, Therese Lacson (C+): The film combines comedy and tragedy but struggles to strike the right balance, resulting in a lack of true synergy. It singles out the strong performances by Portman, Moore, and especially Melton for praise. [Read](https://collider.com/may-december-review/)

## Details

- **Director:** Todd Haynes
- **Director:** Todd Haynes
- **Screenplay:** Samy Burch
- **Story:** Samy Burch, Alex Mechanik
- **Cinematography:** Christopher Blauvelt
- **Editor:** Affonso Gonçalves
- **Music:** Marcelo Zarvos
- **Production design:** Sam Lisenco
- **Costume design:** April Napier
- **Producer:** Christine Vachon, Natalie Portman, Jessica Elbaum
- **Cast:** Natalie Portman as Elizabeth; Julianne Moore as Gracie; Charles Melton as Joe Yoo; Cory Michael Smith as Georgie; Elizabeth Yu as Mary Atherton-Yoo; Gabriel Barbosa as Charlie Atherton-Yoo; Piper Curda as Honor Atherton-Yoo; D.W. Moffett as Tom Atherton
- **Runtime:** 1h 57m
- **Certificate (MPA):** R
- **Release (the US):** 17 November 2023
- **Genres:** Drama
- **Also in:** [Golden Globe Best Musical or Comedy winners](https://film.one/collections/golden-globe-comedy.md) (Nominee, 2023)
- **Budget:** $20 million
- **Box office:** $4 million
- **Trailer:** https://www.youtube.com/watch?v=B7PJenGyhJM

## Where to watch in the US

- Netflix: streaming

*Checked 2026-09-10.*

Also available in: AE, AR, AT, AU, BE, BR, CA, CL, CO, DE, EE, ES, FR, IN, JP, LT, MX, NL, NZ, PA, TR, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Persona* (1966), Fi1m 89: Bergman’s nurse and actress trade faces on an island; the mirror shots start here. — [Fi1m page](https://film.one/film/persona.md)
- *Notes on a Scandal* (2006), Fi1m 75: Judi Dench watches Cate Blanchett ruin herself with a pupil, and takes notes. — [Fi1m page](https://film.one/film/notes-on-a-scandal.md)
- *Safe* (1995): Moore and Haynes’s first film together, a housewife allergic to her own life.
- *Clouds of Sils Maria* (2014): Juliette Binoche rehearses a role that keeps turning into her own past.
- *Imitation of Life* (1959), Fi1m 86: Sirk’s melodrama of mothers, daughters and performance; Haynes has been studying it for decades. — [Fi1m page](https://film.one/film/imitation-of-life.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/may-december