Director Todd Haynes has pushed buttons throughout his career, starting with his acclaimed short film, Superstar: The Karen Carpenter Story, which used Barbie dolls to illustrate the late singer’s anorexia battle. He’s at it again with his latest, May December, which tackles the idea of highly inappropriate relationships through a lens that itself has the potential to be upsetting.

Elizabeth (Natalie Portman), an acclaimed actress, has traveled to Savannah, Georgia to shadow Gracie (Julianne Moore) in preparation for a movie in which Elizabeth will play Gracie. That movie tackles the beginnings of Gracie’s relationship with Joe (Charles Melton), when he was a 13-year-old seventh grader and she was a 36-year-old pet shop worker. The shocking tryst resulted in much controversy, a child, and a jail stint for Gracie, but the couple professed their love for each other through it all.

Twenty years later, they’re still together, having added two more kids to their family, children who happen to be the same age as Gracie’s grandkids from her previous relationship. Elizabeth wants to experience it all, bouncing from person to person to try to understand exactly who Gracie is and was. Striving for authenticity in her performance, however, soon takes her down a Method acting rabbit hole.

Directed by Haynes from a script by Samy Burch, and loosely based on the story of teacher Mary Kay Letourneau and her 12-year-old student, Vili Fualaau, the film treats Gracie and Joe’s relationship in a relatively straightforward manner. It details a benign life in which they have the love of their kids and some neighbors, even if they occasionally get a box full of poop on their doorstep.

It’s the arrival of Elizabeth that sends things spiraling, as her various conversations trigger responses from both Gracie and Joe that they seem not to expect. Haynes alternates between being serious and being campy, with not enough of each for either for them to seem to be the goal. The score gives off a less-than-serious vibe, and an early scene in which a mundane thing is treated as if it were happening in a soap opera points in the campy direction, but those type of moments are few and far between.

In casting Portman as the obsessive actor, Haynes may have been trying to offer up echoes of her Oscar-winning role in Black Swan. It’s no small irony that the person who comes off as the most craven in such a sordid story is the actor who everybody wants to be around, not the woman who became a pariah because she is a sex offender. In that and other ways, Haynes upends expectations, keeping the film interesting even through its slower moments.

Portman and Moore are ideal for their respective roles, Portman because she has a knack for portraying confidence and guile, and Moore due to her ability to manipulate at will. Melton, best known for playing Reggie on Riverdale, pales in comparison due to his less showy role, but he complements the story well. Special notice goes to Elizabeth Yu as Gracie and Joe’s daughter Mary, who shines in her limited scenes.

The story of May December contains elements that will creep certain viewers out, whether it’s the subject matter itself or the performances of the two great lead actors. Haynes has a way of getting under the skin with his storytelling, and this film is yet another great example.

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May December is now available on Netflix.

Photo by François Duhamel / Courtesy of Netflix

Natalie Portman and Julianne Moore in May December.