Mia Wasikowska is fiercely loveable in a one-of-a-kind origin story that shouldn’t be watched by the squeamish.
It deals with toxic male aggression — specifically deconstructing the appeal of Punch and Judy shows — and could hardly be more relevant. Peter and Lois Griffin, from TV’s Family Guy, are this century’s P&J (check out an episode called The Courtship of Stewie’s Father, if you don’t believe me). Bish bash bosh. For those feeling bruised by casual misogyny, Judy & Punch is just what the doctor ordered.
In a 17th-century English town, Judy (Wasikowska) and Professor Punch (Damon Herriman) are married puppeteers with a baby daughter. He’s a charismatic alcoholic who needs an endless supply of applause. She’s distracted and delusional, convinced that if their new show takes off, Punch will go back to being the man of her dreams.
Judy dashes off to the theatre so she can work on the puppets. Punch is left with the baby. Surprise surprise, he sinks to the occasion.
Australian director Mirrah Foulkes is 37 and this is her first feature-length film. She riffs on The Crucible and Kill Bill, while also paying homage to Monty Python and the works of wily feminist Angela Carter (in particular her novel The Magic Toyshop, and her screenplay for The Company of Wolves).
Foulkes is bold and playful in her choices, even throwing in a smouldering ditty from Leonard Cohen. Basically, she’s a natural when it comes to unpacking a punch.
