“HER WILL BE DONE”

In recent news, amongst a sea of questionable headlines of things that really should have been resolved much sooner by now, Poland formally announced the repeal of their infamous anti-LGBTQ zones. Originally established in 2019, the zones were formed under the support of the National Conservative Law and Justice Party. Over 100 local authorities approved the mandate under the guise of protecting their children from alleged “moral corruption.” The aforementioned zones permitted local authorities to implement exclusionary resolutions against their queer populace. In retaliation, the zones were later dubbed as an atlas of hate. Same-sex marriage is still not legally recognized in the country. In a recent study, Poland remains the worst country in the European Union for LGBTQ+ people.

The thematic underbelly of Julia Kowalski’s sophomore feature, “Her Will Be Done,” is ingrained in the patriarchal hierarchies at play within Poland’s anti-LGBTQ legislation. Set in an isolated farm within the Polish countryside, Kowalski’s latest genre amalgamation utilizes satanism as a metaphor to commentate on her protagonist’s queer identity. For the film’s twenty-something lead, Nawojka (Maria Wróbel), her routines largely succumbed to the mundane rhythms of quotidian farm life. Continuously humiliated and mocked by her two brutish brothers, Nawojka’s boredom eventually leads her to a chance encounter with her enigmatic new neighbor. Warned of her late mother’s supernatural abilities, Nawojka begins to reclaim her autonomy from her stoic father and delinquent siblings. The film’s consistent tone gently unravels the hypocrisy at the helm of Nawojka’s community.

Unfortunately, the conventionality backing its formulaic structure distracts the film’s primary thematic interests. Told in a similar vein to other recent self-serious elevated-horror entries, Kowalski merely reiterates beats from superior genre flicks. The cliché of a girl-next-door archetype that changes the protagonist’s view of her suppressed world is a tiresome trope, and nothing is added to it here with Kowalski’s meager screenwriting disregarding her provocative thesis. “Her Will Be Done” occasionally highlights the isolation and alienation found within remote Eastern European communities, but Kowalski doesn’t fully challenge the livelihood and perspectives of her supporting cast. The paper-thin character writing fails to emotionally transcend its apathetic veneer. The same applies to the inclusion of theological traditions amongst the village people — a thematic instigator that is barely touched upon, with the exception of one unique scene shared between Nawojka and her father.

Adjacent to the underwhelming storytelling, the images, and editorial methodology begin to reiterate familiar directorial patterns. The nauseating influx of evocative B-roll signifies Nawojka’s convergence with Satanism and needlessly prolongs the film’s runtime. Thus, by prioritizing its thematic web of somewhat compelling ideas, Kowalski relies on conventional beats for emotional catharsis. Occasionally, her direction flourishes by generating claustrophobia and dread within the low-lit atmosphere of Nawojka’s farm. The spatial geography of her protagonist’s abode is clearly established through impressively blocked long takes. The location brings an insatiable atmosphere to the film’s tiresome narrative. In terms of sheer ambiance, “Her Will Be Done” effectively unravels its protagonist’s psychology through the prison-like atmosphere of her own home.

There’s no denying that Kowalski’s intentions commentate on the livelihood of queer bodies through her allegory. However, “Her Will Be Done” lacks the artistic originality that is sorely needed for her vanguard horror to truly work effectively. Its integral political backdrop is undone by the eye-rolling predictability of her narrative chronology. The uninspired revelations that force Nawojka to confront her society’s structures are digressed by the magnitude of its brooding tone. The byproduct of Kowalski’s latest genre entry is a substandard bore, a tepid reiteration of genre beats that have been better executed in other coming-of-age works such as Julia Ducournau’s “Raw.” As an evocative tone-piece, Kowalski somewhat succeeds in creating a unique atmosphere within her limited narrative. As a substandard horror, “Her Will Be Done“ is a disappointing entry in this year’s Director’s Fortnight selection.