From the wholly unexpected opening credit sequence, in which overweight women dance joyously in a cloud of glitter, Tom Ford challenges expectations and makes it impossible to look away. In his first film since 2009s A Single Man, Ford views these women as Valkyries or witches, luring in unsuspecting audience members and hooking them into the captivating NOCTURNAL ANIMALS. Indeed, its hard to imagine any other way of approaching a film that is filled with musings on the complex interrelationship between the story, its creator and the reader. Based on Austin Wrights 1993 novel Tony and Susan, writer/director/producer Ford opens his film in Los Angeles where art gallery owner (Amy Adams) receives a manuscript for a novel from her estranged ex-husband Edward (Jake Gyllenhaal). His story, titled Nocturnal Animals, is a brutal West Texas thriller that follows Tony (also Gyllenhaal) as he drives his wife (Isla Fisher) and daughter (Ellie Bamber) across state. After the family has an altercation with three men, ostensibly led by the intense Ray (Aaron Taylor-Johnson), the story-within-a-story becomes one of horror and revenge, two things Susan gradually begins to realise Edward is visiting upon her.
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