‘Woman of the Hour’ Review: Mind Games and Murder
With Woman of the Hour, Anna Kendrick steps behind the camera for the first time, delivering a gripping directorial debut and quickly becoming one of Netflix’s most recent standout hits. Primarily known for her roles in comedies or musicals such as the beloved Pitch Perfect films, Kendrick’s move into the darker territories of crime and horror surprised many but has been met with critical acclaim. Based on the true story of notorious serial killer Rodney Alcala, the film masterfully blends elements of psychological suspense, crime thriller, and horror moments, offering viewers a unique and unsettling watch.
Despite being based on the real-life case of the Dating Game Killer, Kendrick handles this dark material extremely well. She creates an entertaining yet harrowing film by grounding many of its elements in a stark sense of reality, which feels even more unsettling given that they are based on real-life events. Although only an hour and a half long, Anna Kendrick brilliantly taps into society’s current fascination with true crime stories, while also making a cinematic statement on the female experience.
Woman of the Hour is a layered exploration of power, control, and fear, brought to life by Kendrick’s distinctive vision. She displays an impressive transition from in front of the camera to behind it, focusing on the psychological depth of her characters and cultivating suspense through gradual tension rather than relying on typical horror tropes like jump scares. By valuing tension above violence and opting for psychological fear over graphic displays, Kendrick builds atmospheric suspense, showcasing how fear can stem from manipulation rather than physical brutality. The film’s most chilling moments arise from mind games and the unsettling fear of the unknown. As the narrative unfolds, the audience anxiously wonders if each female victim will notice the perpetrator’s increasingly disconcerting demeanour and manage to survive. The slow-burn approach, combined with the creative choice to remove music from suspenseful scenes, heightens the tension, as silence emphasizes the danger and underscores the woman’s fear and desperation to survive.
Anna Kendrick’s experience as an actor informs her directorial approach in Woman of the Hour as she dives into her characters’ motivations, fears, and vulnerabilities, grounding them in a realism that resonates with audiences. We follow the main plotline of Kendrick’s character in ‘The Dating Game’ with the unbeknownst serial killer, giving the film a psychological intensity that elevates it beyond a typical horror piece. Anna Kendrick’s character, as the victim, is not merely a passive figure; she embodies a multifaceted personality with aspirations of a successful acting career, fears of failure, and a palpable sense of agency and independence. Her nuanced depiction allows the audience to connect and empathise with her, inviting us to root for her in moments of vulnerability, strength, and resilience. The film’s subtle acting choices testify to Kendrick’s directing, from the slightest shifts between facial expressions to the contrasting emotions conveyed in the eyes and the rest of the face. Additionally, Kendrick also made the interesting choice to go beyond a simplistic portrayal of plain evil with the perpetrator; she avoids a one-dimensional villain by revealing motivations and circumstances that inform his actions by providing glimpses into his backstory and struggles with personal demons.
Besides this, Anna Kendrick’s role as a female director in Woman of the Hour significantly enhances the film’s exploration of feminist themes and gender commentary. Her personal experiences and insights as a woman in the acting industry inform a more detailed representation of the female characters, allowing them to break free of gendered constraints in horror and crime narratives, where women are frequently relegated to roles of helplessness or secondary importance. Kendrick’s character defies these expectations by embodying a woman who is not only aware of the dangers surrounding her but actively engages with them. Through her captivating performance, Kendrick illustrates how women can navigate and manipulate complex power dynamics at play; for instance, ignoring the instructions given by the dating show host, and instead asking more probing questions to the male ‘candidates’. This subversion is striking when contrasted with traditional portrayals of female characters in similar genres, who often lack agency. Furthermore, the film poignantly illustrates the pervasive dangers women face in a world rife with manipulation and predatory threats, capturing the acute awareness women must maintain when navigating these risks, both in their immediate environments and within societal structures. This shared consciousness seen within each female character who instinctively recognises the red flags of danger, not only heightens the tension of the film but also serves as a stark reminder of the societal realities that women must navigate – whether that is having to give a false phone number to a man as Kendrick’s character does or walking home with your keys clenched between your knuckles. As a young woman, the film’s true moments of horror unfold when each female character realises the full extent of the danger—that this man could kill her. In these moments, they come to terms with just how vulnerable and isolated they truly are, and we, as the audience, watch as the situation goes from light-hearted to extremely frightening.
What I love most about this film is its focus on women; it was directed by a woman, and created from the female perspective to give a voice to the lived experiences of women. Ultimately, Anna Kenrick’s directorial debut not only showcases her versatility as a filmmaker but also brings a fresh, innovative perspective to the crime and horror genres. Undoubtedly, Woman of the Hour will leave a lasting impact on both genres, potentially inspiring more female directors to branch into traditionally male-dominated areas of film. This shift could pave the way for more women-led films that bring fresh perspectives to the forefront, something I, for one, am excited to see unfold.
Edited by Humaira Valera, Co-film & TV editor
