While each section has its minutes, however, none of them are totally fulfilling, and just a single of them genuinely verges on hitting its planned target. There might be a dubious through line about overturning the conventional female parts of mother, spouse and overseer, yet in the event that “XX” is attempting to put forth some kind of expression, it’s not doing as such with much lucidity or power.
Really, the interstitials that fill in as the film’s dreadful connective tissue are the best parts of all. The work of Mexican stop-movement liveliness craftsman Sofia Carrillo, they include irritating pictures of doll parts moving about all alone in a flimsy manor. Hands slither around, eyes flicker open and shut and moths shudder menacingly.