“Do you have any idea the kind of risks a woman like me takes every time she decides to have a little bit of fun?” So says our female protagonist in writer/director JT Mollner‘s Strange Darling, a film that dares us to question the roles men and women are expected to play. Are women just prudes who don’t love casual sex? Are men just rapist serial killers waiting for their next mark? What exactly are the boundaries of consent? Strange Darling asks these questions, making for a smarter-than-you’d-expect entry into the cat and mouse thriller genre.
Following an opening scroll informing us that the film we are about to see is a dramatization of the final known killings of a serial killer’s multi-state killing spree, we are introduced to “The Lady” (Willa Fitzgerald, Scream: The TV Series) who, in an extended slow motion sequence that plays over the opening credits, is revealed to be running from “The Demon” (Kyle Gallner, Smile), and what follows is a relentless thrill ride of a film that acts as an extended, feature-length chase scene.
With an introduction like that, you’d be forgiven for thinking that Strange Darling is going to be nothing more than a gratuitously violent and misogynistic foray into the mind of a serial killer. Thankfully, Strange Darling has a lot more on its mind (and even more tricks up its sleeve), setting it apart from other genre films of that ilk. That being said, it is also one of those films that’s nearly impossible to review without spoiling, as its twists and turns happen so early and often that discussing anything past the 15-minute mark would delve into spoiler territory.
Told in 6 chapters presented out of order, Strange Darling gets a lot of mileage out of its nonlinear narrative. This makes for plenty of jaw-dropping “oh shit” moments of realization, and a highly entertaining initial viewing experience. Mollner (Outlaws and Angels) has a clear eye for visuals, shooting most of the film in harsh sunlight. Red cars, clothing and wallpaper pop against the yellows of the film’s daytime sequences, whereas the nighttime sequences are bathed in striking red and blue lighting.
Early on, a title card informs us that the film is shot on 35mm film, which is commendable, but the decision to present the narrative as a dramatization of “real” events feels unnecessary. The aforementioned opening scroll (complete with a deep-voiced, ominous narrator) immediately calls to mind The Texas Chain Saw Massacre, but whereas that film’s 16mm presentation gave it a gritty, documentary-like feel, Strange Darling‘s 35mm presentation makes it feel too cinematic at times. But hey, in this age of digital photography it’s exciting to see the format still being used.
Where Strange Darling really excels is in its casting. Fitzgerald gives an exceptionally strong performance, acting the hell out of every scene she’s in. It’s a far cry from her role in Scream: The TV Series and it’s delightful watching her play out of that sandbox. Gallner, quickly becoming a modern Scream King, has the more difficult role in that his character is playing things close to the chest for the first half of the film. Still, he delivers a subtle, and at times manic performance. Supporting turns from Barbara Hershey and Ed Begley Jr. as an old couple whose house The Lady seeks refuge in are also fun, if fleeting, bright spots.
The biggest issue facing Strange Darling is that, once all of its cards are on the table just past the hour mark (when the final chapter starts), it’s run out of creative juices. What started out as an intricately-plotted, Tarantino-esque piece of pulp devolves into an extended resolution that doesn’t really have a lot to say. It starts several conversations, but refuses to finish them (or maybe that’s the point?). That the conclusion plays out in a predictable, straightforward manner is a shame, considering everything that comes before is so subversive.
In the end, Strange Darling refuses to dig deeper with the lofty questions it poses, but that doesn’t erase the good will the first two acts of the film has built up. What we are left with is a grim little thriller whose lofty ambitions prove to be too much for it in the end, but you’ve got to give it credit for trying.
Strange Darling made its world premiere at Fantastic Fest and is currently seeking distribution.
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