The following review contains spoilers.
2.5 Stars
Writer-director JT Mollner creates a controversial subversion of the ‘lastgirl’ trope in Strange Darling, all shot on a 35mm camera (as is obnoxiously stated at the beginning of the film). The film follows two protagonists in a serial-killer horror, using a nonchronological structure to split up the storyline so the audience is unsure who is the predator and who is the prey.
The male central character, introduced as The Devil, is initially seen hunting down a bloodied and distraught woman, labelled The Lady, however throughout the film it slowly becomes clear that the woman is the bloodthirsty serial killer that has been on a killing spree and The Devil, one of her potential victims, is fighting back. This revelation is an engaging twist that left me and my friends having the competitive post-plot-twist discussion: when did you realise?
However, there is a glaring issue with the film that took away from its engaging plotline and striking shots – it is riddled with poorly-hidden misogyny. The film portrays anyone to come to The Lady’s aid as foolish, after revealing that she has killed an old couple who had offered help. The Lady and The Devil’s unrelenting battle comes to an end when The Devil is killed, his jugular bitten out.
When The Lady hears police sirens, she then makes it seem as though The Devil had tried to rape her and that his murder was in self-defence, framing herself as the innocent female victim. It felt like the director had poorly constructed his own fantasy in which he could expose a woman for lying about rape, which in today’s climate seems inappropriate. It was also unnecessary, as the plot twist of the serial killer being the woman was enough to make the film shocking and enjoyable.
Then, to make matters more uncomfortable, the two police officers who at arrive at the scene of the murders debate whether to help The Lady who appears to have been raped, with the female officer showing sympathy and helping her while the male officer argues that the situation is unclear, and that more investigation should be done before helping the apparent victim. Of course, ultimately the male officer was correct when The Lady eventually murders him, framing the female officer as naïve and foolish for having basic human empathy. Exactly what is Mollner pushing as the moral for this film? Don’t help the battered and raped young woman just in case she’s a prolific serial killer?
The film had potential for greatness for I was constantly engaged, and there was a great ambiance created by the ominous soundtrack and nonlinear plot. In the end, however, it was soiled by its strange messaging.
She/Her