"The Face of Horror" is a Beautiful Technicolor Nightmare

Every year in the heart of Hollywood, dozens of incredible features and short films make their California or world premieres at the TCL Chinese Theater for AFI Fest. A staple of tinsel town, The American Film Institute is celebrating its fortieth year of the festival this week. One of the first films to get the red carpet treatment was Anna Biller's newest feature, The Face of Horror after its bombastic premiere at last month's Toronto International Film Festival. But are audiences ready for this one-of-a-kind medieval mayhem?

The Face of Horror is a high-concept period horror film by American director, Anna Biller. It tells the story of an unfaithful knight who is haunted by his wife's vengeful spirit after he inadvertently causes the untimely death of both her and their child. It is a retelling of one of Japan's most famous ghost stories, Yotsuya Kaidan, set in feudal England. Shot last summer in the Czech Republic, it features the performances of Jonah Hauer-King, Kristine Frøseth, Ellie Bember, and more. It is Biller's first feature film since 2016's comedy horror, The Love Witch, not only serving as writer/director, but also the editor, costume designer, and partial composer.

Over the past ten years, Anna Biller has earned the title of a true auteur filmmaker, and all of her signature elements are turned up to eleven on her latest feature. From the unapologetic feminism to the surreal technicolor appearance, The Face of Horror has Anna's stamp all over it.

Love it or hate it, The Face of Horror is an absolute feast for the eyes. From the production design to the costumes to the art direction to the coloring, every frame could be framed and hung in a museum. Those who appreciate camp, maximalism, and old Hollywood will find plenty to love in this film. Visually, it is very reminiscent of Jacques Demy's dreamlike fantasy feature, Donkey Skin from 1970 with the signature over-the-top acting of films like Gaslight. At no point does this film feel like it is trying to convince you that it is real, this is a theatrical production through-and-through. In an era of cinéma vérité, it's a delight to see a movie that takes such pride in being, well...a movie. Anna Biller's films often get praised for feeling vintage, but at the same time, The Face of Horror feels remarkably futuristic, like this is the direction cinema is going.

I have an immense amount of respect for The Face of Horror due to its sheer ambition and beautiful execution. However, this movie is easily twenty minutes too long. There are a lot of characters, each with their own motivations, follies, and endings, but it feels like the writers were so focused on making sure every plot line was tied up with a bow that they failed to realize...they're losing the audience. Not to spoil anything, but this film really should've ended during the wedding scene.

The Face of Horror has a unique thematic blend of tragedy and camp that gives audiences the space to laugh while also feeling a deep sorrow for the characters' misfortune. It was clear what Anna Biller was trying to say in The Love Witch: women need to fight back, and if the men who wronged them get hurt, so what? This time around, that sentiment has only gotten stronger, and in this current political era of the United States, it is a welcome one.

For fans of Jacques Demy and John Waters who have always wanted to see if those two great tastes taste great together, rest assured, they do. Keep an eye out for The Face of Horror when it hits a streamer or theater near you!