The Dyers

Jonah Lisa Dyer & Stephen Dyer

Hysteria

 

A period comedy released by Sony Pictures Classics

See what all the buzz is about!

In an age of invention, one man set out to find a medical cure for what ailed women…and accidentally electrified our love lives forever. HYSTERIA is a lighthearted romantic comedy that tells the surprising story of the birth of the electro-mechanical vibrator at the very peak of Victorian prudishness. Academy Award® nominee Maggie Gyllenhaal and Hugh Dancy lead an accomplished cast in this untold tale of discovery.

One of the pleasures of Hysteria is how elegantly it sets its story in the period. The costumes, the sets, the locations and the behavior are all flawless, and the British characters in the screenplay by Stephen Dyer and Jonah Lisa Dyer are all masters of never quite saying what they mean.

Roger Ebert

Film Critic

An assemblage of shifting tones and complex ideas, Hysteria is a warmhearted film about a risqué subject. Wexler and screenwriters Stephen Dyer and Jonah Lisa Dyer mainstream things without sanitizing them, reconstituting taboo fodder as the stuff of inspirational cinema.

Robert Levin

Film Critic, The Atlantic

The vibrator movie you can take your mom to.

Jerry Portwood

Film Critic, Out Magazine

Charlotte fits into a history of great wild women, you know? Even, like, ’40s women, screwball women, who you love even though they’re pissing you off. I liked that about it. I thought it would be fun!

Maggie Gyllenhaal

Actress, Salon.com

Understandably, this R-rated comedy is being promoted as the story of how the vibrator came to be invented. That’s not untrue, but what makes ‘Hysteria’ so entertaining is the larger picture it paints of repressed Victorian society. That it does so in the form of a farcical comedy makes it all the more enjoyable.

Leonard Maltin

Film Critic

It’s more than a little depressing that Hysteria – a film set in the mid-1880s – has a healthier, more open attitude towards female sexuality than the vast majority of films set in the present day.

Charlie Lyne

Film Critic, The Guardian