I'm not entirely sure what to say. The costume design and set design is phenomenal, and even extravagant. The very concept is simply grand - a play within a film, ostensibly performed in mid-17th century France. From that premise follows strong attention to detail of stagecraft, with set pieces, stage hands, and practical effects completing the illusion. The very screenplay much more echoes the penmanship of a playwright than a film-maker. Even before truly taking into account the content, 'The baby of Macon' is a marvel.

Hand in hand with substantial nudity, blood, and general violence walks content warnings for infanticide, gore, and far more so for sexual assault. Profound overarching themes present of corruption - of society, of the church, of the human soul; of exploitation and manipulation; of deserved ruination, on any and all levels, as a consequence of ill deeds of any severity; of mercy, cruelty, greed, and of superstition correlating with belief in religion and miracles. It's not wholly wrong to call 'The baby of Macon' a nihilistic picture. Yet all the ideas it broaches are all realized with exquisite work from all departments, including effects, props, makeup, and hair. Peter Greenaway's orchestration of scenes is as outstanding as his writing, and also arranges some fine shots with his camerawork. Lighting is also used in many ways to only further enhance the spectacle before us.

And this is all to say nothing of the cast, who are all gratifyingly excellent. From the smallest supporting parts to the main roles, everyone involved readily inhabits their characters, bringing them to life with all due poise, range, and dynamism. I've never seen Ralph Fiennes quite like this, no matter what other roles one may bring to compare, nor Philip Stone. This goes most of all for Julia Ormond, turning in a fierce, riveting performance - her feature film debut! - as "the daughter," to the point that I'm frankly shocked that there wasn't so much as a single award nomination to come from her portrayal. Ormond above all, but again, I think everyone on hand - cast, and crew - exceeded all possible expectations.

The film pointedly blurs the boundaries between player and spectator, theater and "reality," from the very beginning through to the very end. This defiance of "the fourth wall" makes the picture a bit difficult to latch onto at first, yet it becomes increasingly engrossing. And that same disregard for convention also makes pivotal scenes all the more entrancing and impactful - to the point that further renders the feature's most singularly shocking sequence with it an added measure of ghastly disbelief on par with the opening scene of Sion Sono's 'Suicide Club.' Although, what one considers most jolting will be tested, as 'The baby of Macon' offers more than one contender.

The magnificent visual display, the thematic material, the writing, the performances, the technical craft - in every possible aspect, this is utterly captivating, and low-key mesmerizing, no matter how grisly it may get. I began watching with no particular expectations, and have been confounded in the most welcome of manners by what I've seen. For the unquestionable gruesomeness and weight of the content, this is hardly a picture to recommend to all comers. But I find it to be as fascinating and bewitching, and I'm thrilled to have come across this movie, however belatedly. 'The baby of Macon' is a disturbing, dreary, and often devastatingly extreme tableau, yet so awe-inspiring in its macabre pageantry as to be dazzling and transfixing. Wherever one may find it, this is well worth seeking out.