In May December (2023), a film by Todd Haynes, we are presented with the intricate narrative of Gracie (Julianne Moore) and Joe (Charles Melton), and their complex, ethically nuanced relationship, which becomes the subject of fascination for Elizabeth (Natalie Portman), an actress who delves deep into their lives for her upcoming role.

The storyline, a reflection of the controversial real-life affair reminiscent of Mary Kay Letourneau, promises a rich thematic exploration. Despite the film’s ambitious premise, upon its release, it somewhat fell short of my expectations. Having anticipated the film with great eagerness, I initially felt a sense of disappointment. However, my perspective shifted dramatically when I approached the film through the prism of epistemological relativism, a philosophical stance suggesting that knowledge and truth are contingent upon their cultural, societal, or personal contexts.

Epistemological Relativism as a Lens for Understanding

This philosophical framework not only provided a lens through which the film’s deeper thematic layers became apparent but also transformed May December into a compelling embodiment of epistemological relativism on screen. Notably, this philosophical approach gains further relevance considering that Elizabeth’s mother authored a book on the subject, infusing the narrative with an authentic exploration of the nature of truth and perception.

Epistemological relativism, challenging the existence of absolute truths, posits that our understanding and perceptions are inherently subjective, shaped by a myriad of factors including our backgrounds, societal norms, and individual experiences. This concept is ingeniously mirrored in May December through its deliberate narrative choices and a distinct visual style that underscores the relativistic nature of knowledge and truth.

Visual Metaphors and the Relativistic Perspective

The film’s adept use of visual elements such as soft focus, mirrors, and close-ups significantly enhances its exploration of epistemological relativism. Soft focus, for instance, blurs the boundaries between reality and perception, serving as a visual metaphor for the elusive nature of truth. It prompts us to question the reality presented before us, reflecting the relativist notion that our understanding is always mediated through subjective lenses.

One scene, in particular, stands as a testament to the film’s intricate dance with relativism. Elizabeth, portrayed with a keen sense of curiosity and vulnerability by Natalie Portman, sits across from Gracie (Julianne Moore) in a dimly lit room, the soft glow of the afternoon sun filtering through translucent curtains. As they converse, the camera employs a soft focus, not just to beautify or romanticise but to visually articulate the relativistic notion that understanding is not merely about seeing but about interpreting. This moment, tender yet charged with unspoken complexities, challenges us to consider how the light of our own perceptions colours our interpretation of truth.

Hall of Mirrors

The film’s use of mirrors, especially during a scene Gracie, her daughter, and Elizabeth embark on a quest to find the perfect graduation dress. Mirrors, in this context, offer both a literal and metaphorical reflection, providing a window into the characters’ internal worlds. In May December, these reflections act as narrative portals, revealing the personal truths and realities of Gracie, her daughter, and Elizabeth. The mirrors thus encapsulate the film’s exploration into the notion that our perceptions and understandings are inherently subjective, moulded by our individual experiences, backgrounds, and societal standings.

Visual Poetry and Philosophical Depth

Moreover, Haynes employs close-ups with a deft touch, drawing us into the inner worlds of his characters. A scene where Joe tenderly cares for the butterflies he nurtures is particularly evocative. The camera lingers on his face, capturing the flicker of emotions that dance across his eyes, and then shifts to the delicate wings of a butterfly, poised for flight. This juxtaposition, so rich in symbolism, speaks to the fragile beauty of understanding and the transformative power of seeing the world through another’s eyes. It’s a moment that resonates with the heart of epistemological relativism, reminding us that knowledge and truth are as delicate and varied as the patterns on a butterfly’s wings.

The interplay of light and shadow throughout the film further serves as a visual analogue for the relativistic perspective. In one scene, as the day gives way to twilight, the fading light casts long shadows across the room where Elizabeth and Gracie share a moment of unexpected connection. This chiaroscuro effect, so thoughtfully rendered, mirrors the nuanced terrain of knowledge and belief, illuminating the spaces between certainty and doubt, visibility and obscurity.

Concluding Thoughts:

May December, through its thoughtful narrative and visual artistry, emerges as a deeply affecting exploration of epistemological relativism. Each scene, crafted with care and imbued with emotion, invites us to ponder the relativistic nature of truth and understanding. The film, enriched by the scholarly backdrop provided by Elizabeth’s mother’s work, challenges us to embrace the complexity of our perceptions, urging a deeper engagement with the world around us. Through its portrayal of love, loss, and the quest for understanding, May December becomes a poignant meditation on the myriad ways in which we construct and navigate our realities.