Alfonso Cuarón has a unique ability to depict the ocean as a symbol of deep emotional experiences, a trait evident in his films like “Children of Men,” “Gravity,” and “Roma.” In his new Apple TV+ series “Disclaimer,” which he fully wrote and directed, he continues this exploration through the lens of a tragic event. The series revolves around conflicting narratives surrounding a young man’s fatal drowning on an Italian beach, promising ample scenes featuring the rhythmic sounds of crashing waves.
However, Cuarón’s style appears less suited for the intricate interpersonal drama that “Disclaimer” unfolds, adapted from Renée Knight’s novel. The series delves into themes of grief, self-deception, and storytelling, which diverges from Cuarón’s typical grandeur. While “Roma” blended personal narrative with larger social themes, “Disclaimer” often feels bogged down by excessive narration and struggles with pacing, taking viewers through a perplexing experience that culminates in a twist that lacks impact after prolonged buildup.
Cate Blanchett stars as Catherine Ravenscroft, an accomplished documentarian whose past resurfaces when she receives a self-published novel titled “The Perfect Stranger.” The book suggests that her seemingly perfect life is built on deception, prompting her to confront her past. The author of the book, Stephen Brigstocke (portrayed by Kevin Kline), seeks retribution after losing his job and his wife to cancer. The narrative shifts between Stephen’s pursuit of Catherine and flashbacks that hint at the reasons behind his blame.
Cinematographer Emmanuel Lubezki enhances the storytelling with a warm visual palette that captures the essence of the past, illustrating Jonathan’s (Stephen’s son) infatuation with a younger Catherine. Meanwhile, Stephen’s revenge escalates as he sends compromising images of Catherine to her husband, Rob (Sacha Baron Cohen), leading to a downward spiral of insecurity.
Despite the intriguing premise, the series fails to fully utilize its potential for darker, engaging narrative twists. Kline’s performance as the vengeful Stephen has hints of comedic undertones that seem at odds with the narrative tone Cuarón ultimately chooses. Instead, the story focuses on Catherine’s turmoil, with the camera following her through meticulously crafted settings that contrast sharply with Stephen’s less polished environment.
Blanchett’s portrayal of a wealthy woman facing adversity feels somewhat repetitive, echoing her earlier accolades in films like “Blue Jasmine” and “Tár.” In “Disclaimer,” she grapples with the clunky narration and the delayed reveal of her backstory, which hinders suspense and character development.
As the story progresses, a feminist commentary attempts to emerge but ultimately falters. The narrative struggles to convey a nuanced perspective on women’s experiences, much like “Fleishman Is In Trouble,” another recent adaptation that faced similar challenges. While Cuarón crafts striking visuals, he falls short of creating a cohesive narrative that effectively delivers its intended message.
The first two episodes of “Disclaimer” are currently available for streaming on Apple TV+, with additional episodes released weekly.