The twist end of "Sharp Objects" (HBO) is the culmination of his sleek, devious design. Until his last moments, the final installment of the miniseries (directed by Jean-Marc Vallée, based on a screenplay by the creator of the show, Marti Noxon, and self-adapting novelist Gillian Flynn) is the promise of a gentle landing for the rattling protagonist. The heroine emerged as heroic: Camille Preaker (Amy Adams) had defeated a monster, rescued a virgin and made a clean start for personal salvation. Call me a sap, but I was eager to accept clean developments that promised a feel-good conclusion, despite my belief that the excellence of the show as a work of psychological horror is associated with a steadfast sense of wickedness. Then the show tore the promise away and crushed it. It returned in shape and closed with a pleasing touch of festering discomfort. To the criticism: Camille had returned as a newspaper reporter to her hometown to report on the murders of teenage girls and as a self-harming alcoholics return to the scene against their innocence. Her attempted reckoning with the evil and the trauma had pulled her through the gutter. In the penultimate episode she discovers evidence that her mother, Adora (Patricia Clarkson), by Munchausen syndrome by proxy, deadly poisoned Camille's sister. Camille races to her ancestral home to rescue her half-sister Amma (Eliza Scanlen) from the same fate.
When the finale begins, we see the house through Camille's eyes ̵
During the series Vallée conjures a suffocating sense of location. The impressions of the exhibition of intense heat and sensible moisture are only compounded by the frequent mechanical fans that drift in lazy swarms of surrealistic noir and sultry South Gothic. In this scene, fans return and rotate like cycles of violence. Camille lays her head on a pillow, watches a window fan and flashes a memory from the time of the introduction to the self-injury: The restless young Camille tilts a restless finger on a whirring blade. Later life phenomena of cutting follow. Cut to the police chief, with his head on his pillow, under the silent ceiling fan in his bedroom, where the power is off. This is a signal of interruption of energy.
Camille struggles through the room for a day or two. She collapsed on the ivory floor of her mother's dressing room, under a crystal chandelier with petals reminiscent of fan blades as police car rotating flashlights lit up her eyes. The police, alerted by Camille's editor-in-chief, arrest her, handcuff Adora and commit her to child murder. In less skilled hands, this quick descent of justice would trigger sirens of doubt in the mind of the beholder. But we endeavor to solve the questions of means and motives, to ease the misery and the friendly shores of the dissolution of the storybook.
Amma moves away with Camille and both begin life anew, with Camille blissfully exuding calm in her new role as a mother figure, despite the show's sly skepticism about the transformative power of motherhood. Their drinking problem evaporates without trembling, which should be another sign that what we see is too good to match the dirty realism of the show's general view. At the last minute, Camille, who searches Amma's doll-house replica of the house, which she falsely believes escapes, finds a tooth. It is proof that Amma is the killer, and it indicates that Camille is not a savior, but a fortuitous accomplice to the wickedness of the crime. It ends with a whimper of unconscious torment. Camille looks into her family's house and the roof falls.