The foggy wilderness of “Madeline’s Madeline” is difficult to peer through. Spellbinding shifts in cinematography from points of near clarity to ones of hazy confusion make the film’s visuals equally unintelligible. It is plain to see, however, that director Josephine Decker has not positioned ironclad boundaries around the execution and style of this feature. She gives herself more room to experiment — and experiment, she does.
At the center of this beguiling picture is Madeline (