Strange Darling : Which expertly subverts the norms of the slasher comedy genre
Picture Courtesy : IMDB
In the beginning of the movie, there is a lengthy passage that explains that it is a chronicle of the most recent crimes committed by a serial murderer. After that, the scene shifts to a woman who is attempting to escape from something or someone that is potentially harmful. You will soon witness the same woman driving a red Pinto car while attempting to avoid being shot by a man who is armed with a gun and is yelling for her blood. The intensity of the hideous incident lays the stage for a different chapter in their lives, a more tranquil one in which they have a talk that successfully functions as foreplay when it comes to a one-night stand. The discussion makes a reference to the dangers that a woman exposes herself to whenever she consents to have sexual relations with an unknown person. There is a sudden change in the chronology, which brings the tranquil chat to an abrupt halt. The same guy and lady are now playing a game of cat and mouse, so to speak. Up to the interval, Mollner maintains the nonlinear narrative style throughout the film. This is the point at which the film begins to reveal its many layers. A tantalising thriller with deeper overtones than your typical slasher picture is conveyed to us through the use of a nonlinear technique, which not only gives a feeling of mystery to the events that are taking place but also sets the stage for the rest of the movie.
The performances of the film’s two main characters, the juxtaposition of calming music played in the midst of all the violence that takes place on screen, and the images that were directed by actor and cinematographer Giovanni Ribisi are the highlights of Strange Darling. Because of the contrast between the music and the violent acts, you are forced to confront the complexities of human desire as well as the repercussions of desires that are not maintained under control. Through the use of a variety of point-of-view views, Ribisi’s cinematography realistically conveys a day in the life of a serial killer, while also incorporating an element of perspective into the film. The shots that show the same woman fleeing the scene at two separate points in the movie should be utilised. When it happens for the first time, you get the impression that she is in danger and is only trying to escape the person who is responsible for it. Additionally, the second shot gives the impression that she is fleeing not only from a particular person but also from life itself. The framing that Ribisi employs in Strange Darling generates delirium, tension, and movement, all of which contribute to the film’s ability to captivate viewers. The selection of calming music, together with the peculiar guitar riffs, lends atmosphere to the characters and compels us to reflect on the situations in which they find themselves. On the other hand, the performances of Willa Fitzgerald and Kyle Gallner lend the narrative a sense of depth and authenticity. The expressions in Fitzgerald’s eyes reveal the profound sense of anguish that her character possesses, which may have been the result of protracted trauma and suffering. A performance that is as physically demanding as one that is filled to the brim with the unassuming power of a genuine fighter is delivered by the actor. To paraphrase what William Congreve had to say about her, she is “a woman scorned,” and she slowly lets go her violent “fury.” ‘Love Hurts’ is used so frequently that it stays in your head for a sufficient amount of time, and it also adds a new dimension to the Fitzgerald character. The flip side of the coin is that Gallner is able to bring forth the warped reasons, dark desires, and unnerving charm of his character with the relative ease of a true actor. The character is appealing because of his ability to switch between being dangerous and looking defenceless at the same time.
During their breakout performances, both actors are able to demonstrate their talents in this picture. In addition to that, it features a number of additional characters, some of whom leave an impression despite the fact that their appearances are brief. Take, for instance, a so-called “mountain woman” who has a propensity to shoot at the first sign of danger. However, the most enjoyable aspect of Strange Darling is the experience of witnessing Gallner and Fitzgerald’s characters teeming with sexual tension. Ribisi’s cinematography contributes to the sexiness of the picture while also highlighting the underlying concepts that are contained within it. The red hues serve as a metaphor of love and lust, anticipating the terrible crimes that would ensue, and the framing is especially evocative in a scene that takes place in a hotel room where the two are hooking up.
