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Anna Biller's 'The Face of Horror' Revives Medieval Themes with Sharp Feminist Commentary
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In Short: IndieWire praises Anna Biller's latest feature, 'The Face of Horror,' for its vivid storytelling and sharp feminist critique, set in a medieval world that uncannily mirrors modern dating dynamics.
Director Anna Biller, who has been absent from feature filmmaking for a decade, returns with a voice as sharp and distinct as ever, according to IndieWire.
The film's plot thickens as Eleanor, played by Biller, becomes increasingly frustrated with Edward's procrastination in finding her father's killer, a subplot that mirrors the dynamics of unfulfilled expectations in relationships.
Beyond its visual splendor, the medieval setting serves as an excellent thematic match for Biller's narrative sensibilities, offering a Technicolor feminist critique that resonates through the ages.
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- “ The Face of Horror ” plays like a lost Canterbury Tale, using a medieval backdrop to tell a story of selfishness, hedonism, and body dysmorphia that likely would have played like an astute analysis of dating dynamics at any point in human history.
- The girls reluctantly acquiesce… and believe it or not, it’s not even the worst thing these men do in “The Face of Horror!” Fast forward to a year later, and Eleanor is increasingly annoyed that Edward keeps putting off her request to find her father’s killer — and with the energy of a husband insisting he’ll clean the gutters next weekend.
- Edward is so frustrated by what he perceives as a lack of gratitude that he runs off and finds a side chick in another kingdom.
- Beyond the obvious visual advantages — don’t even pretend you’re not interested in seeing Biller and her collaborators stage a series of castles and royal feasts with princesses and jesters wearing every color of the rainbow — the medieval setting is an excellent thematic match for the filmmaker’s narrative sensibilities.
Sources
- IndieWirelink