There’s no doubting that the woman directing this time-shifting drama has somewhat overshadowed the film itself. ‘W.E.’ is the directorial debut of Madonna, a project she has been working on for years. Whilst her acting career has been hit-and-miss at best, can she win over audiences as a director?

The film follows the lives of two women in separate time periods- the first of Wallace Simpson (Andrea Riseborough), the soon-to-be twice divorced American who caused scandal by falling in love with Edward VIII (James D’Arcy), the King of Britain. 1930’s society disapproved of the monarch consorting with a divorced woman, and the story follows their falling in love, and the events that led to his eventual abdication from the throne. The second story is set in the late 1990’s, and follows Wallie Winthrop (Abbie Cornish), a woman obsessed with the story of Wallace and Edward, believing it to be the ultimate love story. The obsession also provides an escape from her loveless marriage, and subsequent affair with a kindly security guard (Oscar Isaac).

‘W.E.’ is, to borrow a sporting term, a film of two halves. The Wallace/Edward storyline is actually riveting- a glossy version certainly, but one that recounts exactly what was at stake for the couple, and presents it in an effective and entertaining way. The 90’s story, however, is completely dull. It’s still unclear why we had to see this story through Wally’s eyes, as a straight account of the affair would have been more than enough, but this modern parallel feels shallow and uninteresting next to the older equivalent. Whereas national scandal and the question of love versus duty is the subject of the earlier scenario, the modern story is filled with soulless yuppies navel-gazing in luxury apartments. Whilst she is fond of long pauses, Madonna is a competent director, taking risks with certain scenes which for the most part pay off.

As with the story, the quality of the performances are divided by timeline as well. Riseborough is the standout as Wallace, the social climber who unexpectedly finds the love of her life. D’Arcy is perhaps less dynamic, but still exudes 30’s cool as the royal who was fond of a party. Conversely, Cornish plays the unhappy yuppie as if in the midst of a huge teenage sulk. The very real issues facing her character are simply conveyed by a series of scenes where she stares at herself in a mirror, and the blossoming affair she has with Isaac feels uncomfortable and forced.

Whilst not a terrible film, it’s hard to recommend something that is only half-interesting. Whilst the 1930’s segments are genuinely entertaining, they aren’t enough to get you through the dreary, navel-gazing modern segments that let down what could have been an interesting debut for the singer-turned-filmmaker.

Released January 20.