Strange Darling (2023)
Director: JT Mollner
Screenwriter: JT Mollner
Starring: Willa Fitzgerald, Kyle Gallner, Barbara Hershey, Ed Begley Jr.
Movies about serial killers are nothing new, and the enduring popularity of true crime media shows the fascination with such stories will continue. Like many genres, audiences have a growing understanding of the machinations of killer thrillers, so how can filmmakers adapt to keep audiences returning? Style. And that’s something Strange Darling has in spades.
From writer/director JT Mollner, Strange Darling depicts the final days of a serial killer’s murder spree. It is framed as a dramatization of a real story, as an opening text crawl explains, and purports to be the deadliest murder spree over just two years. Savagery is on full display in this tight story, leaving each of us plenty of space to imagine the brutal nature of the events prior to the film.
The story is told in a non-linear fashion, and no one would be off base if they compared this Miramax film to a Quentin Tarantino flick. One of the first frames communicates how the film was shot entirely on 35mm, the film features credits that hearken back to the olden days of opening titles, and the given names of characters are vague (“The Lady”, “The Demon”). Strange Darling wastes no time getting to the action, as the credits lead into a thrilling chase scene that is reminiscent of Death Proof (2007), with a black, roaring F-150 racing to catch a little orange Pinto and its bloodied driver.
Despite the contemporary setting, great care is taken to make the story feel older, and timeless. Only the truck and the brief appearance of a vape pen give insight into the temporal setting (those familiar with guns may also recognize some as more modern than others). Scenes are populated with wood-paneled walls and photos from the early-to-mid 20th century, and outdoor scenes occur in rural portions of the US, where the only traces of civilization are wire fences. This is effective because so many problems regarding technology in serial killer narratives are avoided, and because it fits the genre. When people think of serial killers, they often think of those from the 70s, 80s, or 90s, and the mise-en-scene allows us to unconsciously feel as if we are back in those times.
Giovanni Ribisi (a familiar face in front of the camera moreso than behind it) acts as cinematographer here, and the choices he makes alongside director JT Mollner are incredibly effective. They’re eye-catching and beautiful as they capture the wide scope of the Oregon countryside, and layer the rooms of a motel through different colors of light in smaller moments. But they’re also able to convey the emotional atmosphere of the characters. A scene in which two people are talking in a car, a moment akin to the downtime in Breathless (1960), is bathed in the blue light of a motel sign that emphasizes the calm before a coming storm, and eases us into a moment of security amidst impending dread.
The range of lead actor Willa Fitzgerald and support Kyle Gallner is vital to the success of this film. Their performances are visceral. Fitzgerald has moments of composure that contrast well with her moments of fear, and those can change on a dime if the scene calls for it. Her performance is surely the stand-out, as her ability to convey fear in such a way that can convince even jaded horror viewers is stunning. Gallner has moments of intensity, but the nature of his role leaves him a bit less space to really run a gamut of emotion. The side characters aren’t wildly fleshed out (though they fit what is needed), except for Ed Begley Jr. and Barbara Hershey as kindly mountain folk caught up in this thriller. There’s a montage of their breakfast preparation that offers a beautiful moment of relief from the harshness of the story.
Viewers should be warned that there are some sexual themes that may be upsetting, and it’s difficult to discuss it further than that. However, it should be noted that there is overt consciousness about the nature of the encounter, and Mollner is not irresponsible with these moments. Some might criticize the depiction as fundamentally exploitative and irresponsible, so a warning is the least and most that can be given to any unsuspecting audience members who wish to remain unspoiled.
Strange Darling is among the best serial killer movies in recent years. The thought and effort put into creatively telling an engaging story that should be all-too-familiar to audiences is impressive, and manages to keep you guessing throughout its runtime. It is especially notable for the clear care and intention that come across through the cinematic stylings that aim to offer something interesting in the sea of generic content pushed out by studios and streaming services. There’s no reliance on silly gimmicks or hooks, or a big name phoning in a performance to help sell the picture. Its style reinforces and builds the story rather than being different or visually stunning for the sake of being so.
Strange Darling has the potential to really take a chunk out of you. Across the board, this is exactly the kind of movie horror fans should be clamoring for.
Score: 19/24
