'Don't Worry Darling' Review: 'Get Out' But For White Women
Essentially 'Get Out' but for white women, 'Don't Worry Darling' has strong material with its twist reveal, but the writing and directing falter trying to execute it.

In the 1970s, a small Greek island emerges as a symbol of hope, freedom, and self-expression. Mykonos was "paradise on earth," and for some, it still is. The island was a haven for extramarital and queer love during the dictatorship of the military junta that ruled Greece between 1964 and 1974 following a coup d’état, a regime of dominant patriarchy when even pronouncing the word «gay» on the streets of Athens could be considered a criminal act. In an overall conservative Greece, the Italian entrepreneur Pierro Aversa, a mythical figure of the European queer highlife, opened a gay bar where atmosphere and partying took precedence over profit. A free-spirited, encapsulated environment where forbidden desires could be manifested was cultivated; however, its image is not only reflected through idealistic lenses in the film – many people died in the drug-fuelled madness, and many kids were lost as well, as the locals admit.
Essentially 'Get Out' but for white women, 'Don't Worry Darling' has strong material with its twist reveal, but the writing and directing falter trying to execute it.
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