Title: The Face of Horror
First Non-Festival Release: TBD
Director: Anna Biller
Writer: Anna Biller
Runtime: 120 Minutes
Starring: Kristine Froseth, Ellie Bamber, Jonah Hauer-King
Where to Watch: Check out where to find it here
This film’s review was written after its screening at the Fantastic Film Festival in 2026.
Women have suffered at the hands of men throughout history. While the laws that govern them change, the simple truth is that misogyny is one of the few stains on humanity that just won’t go away.
Harkening back to the medieval ages, Eleanor (Kristine Froseth) lives in her beautiful, yet simple home with her sister Beatrice (Ellie Bamber) and father. Pursued by wannabe knight Edward Carnifex (Jonah Hauer-King), Eleanor is paralyzed with sadness when news returns of her father’s death. Unbeknownst to Eleanor, Edward murdered her father to enact his plans to steal her wealth. Eleanor readily agrees to marry him for his protection and love, not knowing his true intentions. Her sister marries his squire, Richard (Leo Suter), making him promise to avenge her father’s murder before consummating their marriage. When Eleanor and Edward’s marriage hits a wall, namely Edward spending down their small fortune, he begins looking for love elsewhere. His infidelity spells danger for Eleanor leading to a tragic and karmic ending.
As much an exhibition in period production design as it is a beautiful condemnation of sexism, The Face of Horror is a stunning, maximalist horror tragedy.
Spellbinding in its approach to examining gender politics long baked into the public’s understanding of life, writer/director Anna Biller’s The Face of Horror focuses its ire on the narratives men build for themselves and others. What could easily be boiled down to a simple takedown of sexism, The Face of Horror investigates deeper. Edward’s manipulation of all around him is a cynical ploy to elevate himself and indulge in his passing fancies. He never loved Eleanor; he loved what he could do for her. This is why he eventually strays when her wealth depletes and her physical beauty fades thanks to the realities of motherhood and taking care of the home on her own. Meanwhile, Edward gets to play dress up and pretend to be a hero. The story he spins, however, is one of sacrifice. He must go out every day to protect Eleanor and their child.
But is that really the truth and is this really that unfamiliar to audiences? These same excuses men tell today to elevate their social status with other men highlight how hilariously wrong the mentality is to actual civil society.
These parallels extend to other facets. Biller never lets the audience forget about the failures of chauvinism. Whether it’s Edward’s thirst for violence to get what he wants or his retreat into religion when his crimes are eventually caught, the myth of the male protector is completely eviscerated. The same tactics Edward uses to control and divide are employed by pick up artists and podcasters preying on the scores of vulnerable, dumb men desperate enough to treat them as gospel. It’s a depressing reality but Biller dresses it up in beautiful dresses, sunny photography, and a little bit of ironic humor to poke fun at this concept of predestination.
The beauty of the film further fuels this commentary. When Eleanor gradually loses her shine thanks to her body wearing down from being the wife Edward expects her to be, she cannot do anything to change his mind. The reality is that she is still a wildly beautiful woman, just with thinner hair and a more tired expression, but Edward’s wandering eye would have led him down his path regardless. It’s only when nearly everything has been taken from her that Eleanor finally seeks revenge. Much like women’s lived reality today, the social currency of beauty is afforded both in life and death. Derided by her social circles and treated like a monster by her husband and a problem to rid themselves of by his mistress, Eleanor only finds power in the ugly truth of who Edward is and what he has done. Never straying from the bright, bold colors reminiscent of the time, The Face of Horror is devoted to accuracy beyond its well-developed, if sometimes on-the-nose, gender commentary.
Tackling the Middle Ages using a 70s aesthetic, The Face of Horror delivers something unique for audiences accustomed to more modern styles of filmmaking. All the costumes are period accurate and look gorgeous, the set is both expansive and textured for the scale, its sonorous soundtrack of woodwinds and strings evokes feelings of whimsy, and the makeup honors the time period, adding authenticity to the film’s palette. Lush cinematography gives the film that patient, effortless charm ripped from a standard psychosexual 1970s flick but this time with a medieval setting. The exaggerated performances add to this classic approach to filmmaking, bolstering the film’s unfortunately timeless commentary.
Its weakest element is by far the sluggish pacing. Apt to happen at any given time in the narrative, Biller’s story drags despite her attempts to push it forward. Hammering its points home at every opportunity, the choice to repeatedly demonstrate characterizations already long understood by the audience verges on the absurd at times. Focusing on too many character arcs at once, The Face of Horror refuses to let its audience stay focused. Whether it’s Eleanor’s pining for Edward, or his lack of consideration for other’s autonomy, particularly women, The Face of Horror makes its point well enough but ends up feeling repetitive.
Some horror fans may find The Face of Horror slow or preachy but those who find themselves firmly on its wavelength will delight in the charming supernatural revenge film. Biller does not disappoint with what she does best: crafting immensely beautiful and accurate sets and costumes that capture the time and spirit of the stories she tells. Admittedly light on horror, the production leans more into the unsettling and the ghastly rather than the straight up terrifying, despite its chilling subject matter. Incredible production values and sharp satire make The Face of Horror an undeniable indie success.
Overall Score? 7/10
