by Kyle Flynn

Disclaimer* follows Catherine Ravencroft (Cate Blanchett), an award-winning journalist, who discovers that a novel called ‘The Perfect Stranger’ reveals her past. What transpires is a psychological thriller in which Catherine confronts secrets that could ruin her and her family’s lives. 

My relationship with Alfonso Cuarón has been one filled with excitement and cheerful memories of experiencing film. I primarily don’t watch television, and I usually forego watching it even when my favorite directors choose a long-form project (An example would be Park Chan-Wook with The Sympathizer last year). Despite that, Cuarón’s work has left such an impact on me that I knew I would be streaming Disclaimer* on day one. I am thankful to say I went into Episode 1 with some hesitancy but came out of Episode 7 celebrating the return of Cuarón.

Throughout the seven episodes, we follow two different narratives, one following Catherine Ravenscroft in the modern day dealing with her husband (Sacha Baron Cohen) and son (Kodi Smit-McPhee) as well as Stephen Brigstocke (Kevin Kline), who is holding a vicious grudge against Catherine. The other narrative that follows revolves around the relationship between Johnathan Brigstocke (Louis Partridge) and Young Catherine (Leila George). Cuarón blends them so seamlessly that it never feels clunky, and the editing benefits the story through the time dedicated to each. 

We almost always see the world through Catherine’s perspective, how she reacts to every conflict, how those in her personal life begin to view her, and every perceived transgression from Stephen. Disclaimer* acts in some ways as a co-lead narrative, giving prevalence to Kevin Kline’s character, arguably the most riveting character in the whole show. When we are following Stephen, you can see his hurt, and the story is written in a way that you can sympathize with him. 

Cuarón’s mastery of the camera and his naturalistic writing work well with the interwoven thriller he crafts. Funnily enough, it captures a little of everything that gravitates me to Cuaron’s films. I would consider Disclaimer* to be Cuarón’s sexually voracious project since ‘Y Tu Mama Tambien,’ his most morally ambiguous since ‘Children of Men,’ and it comes close to the emotional depth of ‘Roma.’ I wonder if this was what compelled Cuaron to give television a try. Was it the chance to explore themes he has touched on in the past in a more freeform way? 

The answer to that is debatable, but a project with Cate Blanchett delivering another performance where she has given herself to the role in totality should be enough to give Disclaimer a try. Not a single performance feels lacking. Louis Partridge was a particular standout, and I was only familiar with his work on the Enola Holmes film, which didn’t do him much service. Sacha, Kodi, and Leslie Manville are all featured throughout. Each is amazing in their individual moments but perhaps doesn’t reach the highs of Leila George or Cate Blanchett as Catherine, Kevin Kline, or Louis Patridge in their individual narratives. 

I imagine what will make or break the series for most will be that final episode, which takes a turn and challenges your perception of the previous six episodes. For me, it worked and only cemented it for a subversive Cuarón piece. I am probably higher on this than most, and my love for the work of Cuarón knows no bounds, and seeing such a return to form for him after a 6-year break only built onto my enjoyment. I am excited to say he has returned stronger than ever. 

4.5 stars