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Dino-Ray Ramos Associate Editor/ReporterWe’ve seen Elisabeth Moss take on corporate male toxicity in Mad Men, a ghost of a man in The Invisible Man, Gilead in The Handmaid’s Tale and punk rock in Her Smell. This weekend we’ll see her try her as a horror author who tries not unravel as she goes through her creative process in the Josephine Decker-directed Shirley.The film, which is adapted from Susan Scarf Merrell’s 2014 novel of the same name, bowed at the Sundance Film Festival earlier this

Pushed over a metaphorical cliff, the two nonconformists in Josephine Decker’s “Shirley” — her follow-up to the mind-bending “Madeline’s Madeline” — bond over the maddening submissiveness expected of them, which they both come to furiously abhor. Their strange alliance makes for a psychologically layered portrait of unapologetic womanhood that’s dangerously sensual and sumptuously rebellious.

Shirley Jackson was a real person, a writer best known for her twisted short story “The Lottery,” although the version presented in Josephine Decker’s “Shirley” feels more like a character from one of her own novels.