The Ugly Stepsister review – body-horror take on Cinderella is ingenious reworking of fairy tale

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"Emilie Blichfeldt's 'The Ugly Stepsister' Offers a Darkly Humorous Spin on Cinderella"

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AI Analysis Average Score: 7.9
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TruthLens AI Summary

Emilie Blichfeldt's feature debut, "The Ugly Stepsister," presents a unique and darkly humorous reinterpretation of the classic Cinderella tale through a body-horror lens. Set in 18th-century central Europe, the story follows Rebekka, a cynical widow played by Ane Dahl Torp, who remarries only to lose her husband shortly after their wedding when he dies from overeating at the reception. Left in a precarious financial situation with her plain daughter Elvira and her two other children, Rebekka prioritizes bizarre cosmetic procedures for Elvira in hopes of securing a marriage to the wealthy Prince Julian. In a twist on the traditional narrative, Elvira, portrayed by Lea Myren, resorts to extreme measures, swallowing a tapeworm to maintain her cake-eating habits, which leads to disastrous consequences. The film is visually striking, with lavish costumes and design that echo the works of directors like David Cronenberg and Walerian Borowczyk, while also invoking themes reminiscent of both Carrie and Alien.

Blichfeldt's narrative cleverly subverts expectations regarding the identities of the cruel stepsister and the one with true inner beauty, prompting viewers to reconsider the familiar tropes of the fairy tale. The film also raises questions about the nature of beauty and desire, challenging the audience's perceptions of the characters and their motivations. Notably, it critiques the sexual and patriarchal imagery often associated with Cinderella, offering a more modern, post-feminist perspective akin to the works of Angela Carter. While the film retains some of the traditional elements, such as the iconic slipper scene, it playfully suggests that the obsession with physical appearance may overshadow genuine recognition of love. Overall, "The Ugly Stepsister" stands out as an elegant and thought-provoking debut that offers a refreshing take on a beloved story, now screening in US cinemas and set to premiere in the UK and Ireland in late April.

TruthLens AI Analysis

The review of "The Ugly Stepsister" presents a unique take on a classic fairy tale, showcasing body horror elements and a revisionist narrative. This analysis aims to explore the implications of the article, the potential motivations behind its publication, and the broader context it operates within.

Purpose and Audience Impact

The article serves multiple purposes, primarily aiming to highlight the innovative direction of Emilie Blichfeldt's film. By framing the movie as a reworking of Cinderella through a body-horror lens, the review is likely targeting an audience interested in genre-bending narratives and feminist reinterpretations of traditional stories. This could foster a sense of intrigue among viewers who appreciate depth and complexity in storytelling.

Cultural Commentary

The review subtly critiques societal beauty standards and patriarchal values through the lens of the film's characters and their dynamics. By upending the traditional roles of the "ugly stepsister" and the beautiful protagonist, the article challenges readers to reflect on the nature of beauty and worth. This commentary aligns with contemporary discussions around body image and self-acceptance, potentially resonating with audiences who feel marginalized by conventional narratives.

Hidden Narratives and Omissions

While the review is relatively straightforward, it may obscure certain aspects of the film's darker themes, such as the grotesque lengths to which characters go for acceptance and love. By focusing primarily on the film's innovative qualities and leaving out deeper critiques of its horror elements, the review might gloss over the discomfort that these themes can evoke. This could lead to a perception that the film is more palatable than it truly is, potentially misleading audiences.

Comparative Context

In the context of other reviews and articles focusing on contemporary films, this piece stands out for its emphasis on body horror and feminist themes. It may connect to broader trends in cinema that challenge traditional narratives and encourage audience engagement with complex social issues. This film's approach can be compared to other recent works that also explore themes of femininity, power dynamics, and identity, potentially drawing connections to similar films and their reception.

Societal Implications

The review could influence societal perceptions of beauty and femininity, particularly among younger audiences. By presenting a film that critiques and redefines these concepts, it may encourage discussions about self-image, societal expectations, and the portrayal of women in media. The film's themes could also provoke conversations about mental health and body positivity, impacting how audiences engage with their own identities.

Community Reception

The film may resonate more with communities that prioritize progressive narratives and feminist discourse. Audiences who appreciate horror and genre films that provide social commentary are likely to support this film and its review. This could foster a sense of belonging among viewers who feel represented by the film's themes.

Economic and Market Impact

While the review itself may not have a direct impact on stock markets or financial sectors, it highlights a trend in the film industry that could influence production companies and investors looking to support innovative storytelling. Films that challenge societal norms and connect with contemporary issues may attract more funding and support, reflecting evolving audience preferences.

Global Context

The themes explored in "The Ugly Stepsister" resonate with ongoing global conversations about feminism, body image, and societal expectations. The film's release aligns with broader cultural movements advocating for representation and diversity in storytelling, reinforcing its relevance in today's socio-political landscape.

AI Influence in Writing

There is a possibility that AI tools were used to enhance the writing or structure of the review, contributing to its clarity and coherence. However, the review appears to maintain a human touch, particularly in its nuanced understanding of cultural themes. If AI was involved, it likely assisted in organizing the information and ensuring the narrative flow, rather than dictating the content itself.

In conclusion, the review of "The Ugly Stepsister" presents a complex narrative that intertwines body horror with feminist themes, resonating with contemporary societal discussions. The review effectively engages its audience while also sparking deeper reflections on beauty and identity. Overall, it holds a significant degree of reliability, offering insights into the film's themes and its potential impact on viewers.

Unanalyzed Article Content

Norwegian director Emilie Blichfeldt makes her feature debut with an ingenious revisionist body-horror version of Cinderella, lavishly costumed and designed. There are twists in the style of David Cronenberg and Walerian Borowczyk, with (maybe inevitably) echoes of Carrie and Alien. In one scene, there could even be a nod to Picnic at Hanging Rock.

Cynical widow Rebekka (Ane Dahl Torp) remarries a well-heeled widower somewhere in 18th-century central Europe; he then makes her a widow for the second time by fatally gorging on cake at the wedding breakfast. As a result, Rebekka is left financially embarrassed with her plain daughter Elvira (Lea Myren), Elvira’s kid sister Alma (Flo Fagerli) and a new stepdaughter Agnes (Thea Sofie Loch Naess), a beautiful young woman who haughtily resents the ugly Elvira. Instead of paying for a funeral for her late husband, Rebekka lets his body rot somewhere in the house while spending money on bizarre cosmetic treatments for Elvira – brutal nose- and eyelash-remodelling – in the hope that Prince Julian (Isac Calmroth) will choose her for his bride at his forthcoming ball. But Elvira rashly swallows a tapeworm to allow her to indulge a passion for cakes (Ozempic not being available in those days) and calamity approaches.

Amusingly, Blichfeldt upends expectations about which of the two female leads truly is the cruel and vain stepsister, and which therefore has the authentic inner beauty. As with the original version, there is a plot hole with regard to the trying-on-the-slipper scene: surely the Prince can see from faces who is, and is not, his true love. Or … maybe it isn’t a plot hole? Perhaps the body-appendage fetishism taking precedence over facial recognition is the point. This is a movie hyper-aware of the sexual and patriarchal imagery of Cinderella, a film in the post-feminist tradition of Angela Carter and, unlike Michael Pataki’s lowbrow 1977 porn-musical version, it avoids the obvious sexual symbolism of the foot in the slipper. Blichfeldt has made an elegant debut.

The Ugly Stepsister is in US cinemas now, and UK and Irish cinemas from 25 April

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Source: The Guardian