As a seasoned cinephile with a keen eye for cinematography and a soft spot for films that defy conventional storytelling, I found myself utterly captivated by the audacious spectacle that is “Strange Darling.” The film’s visual dexterity, under the masterful direction of Mollner and the lens of Giovanni Ribisi, left me spellbound from start to finish.
Viewership has fascinated filmmakers and moviegoers alike since cinema’s creation Just look at the final image of 1903’s The Great Train Robbery. This famous shot initially seems like just a robber’s (played by Justus D. Barnes) mugshot. only for the character to pull out a gun, point it at the screen, and fire at the audience. Suddenly, The Great Train Robbery involves the viewer in a whole new way. Subsequent movies often didn’t so directly reference moviegoers. However, concepts like “Who is watching who?” and meta-commentary on viewership persist in cinema throughout the art form’s evolution.
The recently released film titled “Strange Darling” delves into themes similar to Alfred Hitchcock’s classics Vertigo and Rear Window. As you watch the movie, it invites you to ponder about the people you encounter, the world around you, and your own perspective. It also offers a gripping thriller experience. In essence, watching “Strange Darling” allows you to grapple with existential questions that have been central in cinema for ages, while also providing an engaging ride crafted by writer/director JT Mollner.
As a film enthusiast with a passion for indie movies, I find this thriller to be a compelling watch right from the start. The opening scene, which declares that it was shot on 35mm film, immediately sets the tone for a visually striking experience. The story unfolds as a dramatization of a fictional serial killer’s final months, and the audience is thrust into the action without much backstory or explanation – a technique that works well in keeping the tension high from the get-go.
In Mollner’s narrative titled “The Lady and The Demon,” the story unfolds over six main sections (along with an ending). A popular trend in contemporary films, from “Mad Max: Fury Road” to “Hunt for the Wilderpeople,” is organizing movies into chapters. What makes “Strange Darling” stand out is its unconventional approach to these chapters, as it presents them non-chronologically. The story begins in the middle of its course, and then leaps forward and backward through the relationship between The Lady and The Demon. Initially, before they encountered each other across various rural landscapes, they were strangers planning to spend a night together at a motel. How swiftly circumstances can shift.
As a gamer, it’s no surprise that the trailer for Strange Darling feels tailor-made for me, given its connection to Barbarian producer Roy Lee. You see, JT Mollner’s latest screenplay stirs in me a captivating essence reminiscent of that 2022 Zack Cregger movie, Barbarian. In an interview with Below the Line, Cregger shared that Barbarian was essentially born out of serendipity. “I just started writing late at night…I wanted to write a scene just for myself,” he said. “I wasn’t trying to write a movie. I just wanted to have fun creating something like I used to do when I was a little kid.” The overall narrative didn’t shape Barbarian; instead, Cregger kept crafting material that amused him as a moviegoer like me.
Mollner’s “Strange Darling” screenplay exhibits a similar style and this is a high praise. Unlike other horror films such as “Saw X” or 2018’s “Halloween”, there are no long, suspenseful pauses between action sequences here. Instead, the script is filled with continuous creative brilliance in every aspect. This extends to its surprising plot twists and a complex tone that seamlessly blends horror and dark comedy. Unlike some writers who focus on portraying “gritty reality”, Mollner chooses to explore aesthetics and narrative deviations he’s enthusiastic about. This dedication is contagious, particularly when it translates so beautifully onto the screen.
The ability to handle diverse visual styles, as demonstrated by Mollner and cinematographer Giovanni Ribisi, is evident in “Strange Darling.” The film’s initial segment draws heavily on classic silent films, portraying The Lady eluding The Demon. With no dialogue used, the storytelling relies instead on powerful visuals and physical acting, beautifully captured under natural lighting and wide shots. This sequence’s absence of dialogue is so effectively executed that it might not be noticed until after the credits have finished playing.
In a later scene, the conversation between these two characters in The Demon’s car becomes more of an intimate, dialogue-focused exchange. Mollner and Ribise skillfully use closer shots, illuminated by soft blue neon light. Even though they’re talking inside a car, the visuals continue to be captivating with striking imagery. The scenes are just as visually appealing when the focus is on dialogue. Fitzgerald and Gallner’s performances remain enthralling within these confined spaces.
Earlier in “Strange Darling”, their body language was the only means to understand this duo, as how they walked, hid under trees, or handled a gun revealed their hidden feelings. In the latest segment of “Strange Darling”, they’re seen conversing in a car. The dialogue now becomes crucial for conveying emotion. If you stumbled upon the movie just here, you might mistake it for an indie dark comedy! Taking on this genre and something reminiscent of F.W. Murnau’s outdoor take on “Hush” is a challenging assignment that both leads in “Strange Darling” are well-prepared to handle. Fitzgerald stands out here, skillfully handling any subtleties the script presents her with. She delivers an entrancing performance.
The diverse images and performances within merely two segments of “Strange Darling” (not even considering the entire film) make it a particularly captivating spectacle. These qualities create a sense of exhilarating anticipation about where this production will head next. By confining the story to a physically restricted setting, these qualities are emphasized even more. In contrast, the August 2024 indie horror movie “Cuckoo” became overburdened with excessive supporting characters and mythology. Meanwhile, “Strange Darling” concentrates on a select few characters within a similarly minimal number of sets. By focusing on such limited resources, the adaptability and versatility of these artists truly shine through.
It’s clear that certain elements of this daring project fall short, and it seems the final stretch of “Strange Darling” is a bit prolonged and repetitive in parts. There’s also an issue with one plot point in the movie’s sixth chapter that stands out as strikingly unrealistic within its fantastical universe. Additionally, the original songs by Z Berg and Craig Deleon don’t always harmonize well with the scenes they accompany; while her rendition of “Love Hurts” is effective due to her unique and velvety voice, tunes like “Better the Devil” can feel disruptive rather than enhancing. Perhaps original compositions from Craig Deleon’s impressive score, especially his dramatic leitmotif for The Demon, would have been a better fit in those instances.
Despite its peculiarities, Strange Darling offers an engaging and fun-filled movie experience that makes for an excellent Friday night out at the cinema. Mollner’s latest directorial work presents shocking plot twists as effortlessly as it extends a hilarious visual gag centered around the preparation of a hearty but potentially artery-clogging breakfast. As Mike Flanagan puts it in his trailer quote, it’s best to go into this movie without any spoilers ruining your viewing experience. This way, you can fully appreciate Strange Darling‘s insights on audience dynamics and the fact that the antagonist from Ted is a talented cinematographer.
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2024-08-16 17:15