Florence Pugh has made a remarkable comeback in the last six years, combining an Oscar nomination with a Marvel Cinematic Universe appearance that has attracted attention from all corners of the cinema. The film, directed by Olivia Wilde, plays Alice, a suburban housewife in a 1950s-style utopia called Victory, which has received mixed to mixed reviews. However, Pugh is still able to give an outstanding performance, only highlighting her immense talent.
Pugh released Lady Macbeth, a bare-bones dramatic thriller about Katherine (Pugh), a neglected housewife in 19th Century England, as a tour de force, but it also provided an early example of the types of morally ambiguous roles that have characterized her early career.
Katherine is gritted her teeth as a result of a loveless marriage. His husband, Alexander Lester (Paul Hilton), constantly belittles Katherine about her inability to give her a son, but, contradictorily, his own sexual interests never seem to go beyond staring her from the opposite corner of the bedroom. One day, Alexander leaves the estate for a few days to take care of business requirements. Katherine gets the chance to do something she had previously been forbidden from doing.
Katherine discovers a love for freedom and begins an affair with one of the new tenants on the estate. Determined to never be tied down as property again, Katherine concocts a clever strategy to free herself from her patriarchal bonds. Nothing is off the table. Through lies, deceit, and murder, Katherine's empowerment comes at a cost that she is willing to pay.
Katherine's displeasure is internalized until the moment she breaks. Pugh is the one who is responsible for expressing this displeasure. Even when the camera is pulled out for a wider shot, Pugh's vacant eyes convey a sense of modernity.
Dani (Pugh) and her boyfriend Christian (Jack Reynor) are joined by a group of friends to watch a traditional Swedish festival. Although Dani isnt wishing for freedom from an oppressive partner, she does share Katherines feelings of being unappreciated in the grand finale.
Dani in Midsommar suffers a moral decline from the start of the film. Pugh does an excellent job of immediately revealing the internal flaws in her morality. That way, when the events of the film unfold, she simply exposes something that was already there.
Amy may not be the calculating type or even go down a downward spiral in morality, but she is shrouded in moral ambivalence. Years later, Amy realizes that she does have some immoral tendencies but shows signs of growth, such as her marriage to Laurie (Timothee Chalamet).
Pugh plays Yelena Belova, the sister of Natasha Romanoff (Scarlett Johansson) in the film Black Widow, which follows the pair's childhood and highlights the moment their lives differ. After that moment, Nat loses contact with Yelena but reconnects with her years later when their missions intersect. Upon reconnecting, the two sisters learn about their shared trauma after being trained to be Black Widows in the famous Red Room.
Natasha has shown that sometimes her loyalty is more important than her job in Captain America: Civil War. However, her interactions in Hawkeye show that she is more interested in completing a mission than her loyalty.
Pugh has established a clear pattern in her chosen roles throughout her career. This collection of morally opaque roles will complement Pugh's other morally ambiguous roles in the near future. She will also direct The Wonder, a Netflix film about the "fasting girls" in the nineteenth century.