THE STORY – Nothing is what it seems when a twisted one-night stand spirals into a serial killer’s vicious murder spree.
THE CAST – Willa Fitzgerald, Kyle Gallner, Barbara Hershey & Ed Begley Jr
THE TEAM – JT Mollner (Director/Writer)
THE RUNNING TIME – 96 Minutes
Unique narrative structures can be a source of fascination for film enthusiasts. At first, it’s a deceptively simple landscape that seems to only indulge in surface-level thrills that can be entertaining but thematically shallow. However, that mentality can be dismissive of a more complex ideology lurking underneath. Such novelty can manifest either in the themes present within the story or in the actual construction of the plot that reveals enticing arenas to discover. “Strange Darling” has a construction that is meant to keep its audience guessing, a puzzle box that slowly moves its pieces to create a portrait not initially perceived as forged. It’s a subversive effort that is constantly engaging and wholly fascinating to unwrap with every new creative endeavor.
On the surface, “Strange Darling” seems to be a tale as old as time. In the opening frames, a mysterious woman (Willa Fitzgerald) is seen running for her life – through open fields and speeding cars – and looks terrified as a man (Kyle Gallner) is in hot pursuit of her with a determined look of carnage plastered on his face. She is almost ensnared in his clutches but just manages to escape before coming across a house in the middle of the woods, greeted by an old couple (Barbara Hershey and Ed Begley Jr.) to aid her in seeking shelter. However, as the story goes on, it may not be exactly as it seems. The intentions of these two participants alter as more of their relationship is revealed, illuminating the twisted game both are playing, which is far more complicated than initially realized. Who will eventually get the better of the other is only determined by how insidious their tenacity manifests itself.
At first glance, things may be relatively simple to understand but perhaps more difficult to fully decipher. The story begins in media res, immediately throwing the audience into a chaotic chase sequence before any bearings are established. It’s an intentional move from writer-director JT Mollner, jolting us with a vivid splash of adrenaline with a wash reminiscent of 1970s grindhouse pictures. Very quickly, however, the narrative takes a dramatic turn, presenting the following and preceding events as out-of-order chapters in order to give the full context of what exactly defines the relationship between these two characters. On the one hand, it could be easy to dismiss this tactic as a gimmick that jumbles the story as a trick to mask shallow writing. That would only be true if these characters were not intriguing and the exploration not worthy of examination. The commentary that details how true villainy is showcased and the intentional subversion of expectation that predators use for manipulation is an engrossing portrait. It is beautifully rendered by the textured 35mm cinematography from Giovanni Ribisi (yes, that Giovanni Ribisi), which coats the frame with a warm color palette masterfully clashing with the cold calculation on display.
It is precisely those character dynamics that keep the storytelling so captivating from beginning to end. The dark sexual politics at play have an open dialogue, which acknowledges an uneasy yet enticing opportunity for investigation. As the relationship evolves, the landscape turns more sinister but doesn’t lose the alluring thematic commentary. This is what’sespecially enchanting about Mollner’s twisty screenplay, which dices and re-arranges events only to ease such profound discoveries. Occasionally, there are moments when the pacing suffers from sudden whiplash in momentum that results in tedium in which to set. Thankfully, it’s not a pervasive issue, as these moments dissipate into stronger scenes where the tension successfully builds underneath the ominous sound design, effectively creating an unsettling atmosphere.
Both Fitzgerald and Gallner deliver fine work here, though admittedly, the former makes a more significant impact. They’re tasked with tackling layered characters whose motivations are unmasked in a way that creates a more intoxicating complexity, but there is a lack of depth to Gallner’s role that limits the range he can truly display. He’s still an enthralling figure, but there is less care given to his characterization that, by extension, weakens his performance. His screen presence is mesmerizing, but he recedes in Fitzgerald’s shadow. She undoubtedly has the meatier role, with much more complicated internal dialogue. The way she flashes alternating states of emotion that indicate the level of control she exudes makes for an appealing personality to follow, even when committing questionable moral acts. Even though Begley and Hershey have fun in their minor roles, Fitzgerald is the anchor who holds the center of attention.
“Strange Darling” is one of those films that many will tell you to go into as blindly as possible. That sentiment absolutely rings true, but it’s also not just to hide some third-act twist that will lose all novelty as soon as it is discovered. The reason why it’s best to keep such levels of mystery is because filling in the gaps creates an active participation from the audience. It allows for the numerous revelations within the narrative to be unearthed organically, making for a viewing experience that is entertaining and invigorating on so many levels. The impressive craft and daring performances are further evidence of a unique and provocative work, making it one of the year’s most compelling ventures.
