The Face of Horror, 2026.
Written and Directed by Anna Biller.
Starring Jonah Hauer-King, Kristine Froseth, Leo Suter, Ellie Bamber, Bella Heathcote, and Ben Radcliffe.
SYNOPSIS:
A ghost in medieval England rises from her grave to seek revenge on her husband, in a gory tribute to classic Technicolor horror films.
The Face of Horror, the latest film by Anna Biller, is inspired by the 1825 Kabuki ghost story Yotsuya Kaidan. Transporting the tale to 14th-century England, this classic Kabuki story, which would traditionally have had every role performed by a male actor, is reimagined as a loving tribute to classic Technicolor shockers in the vein of Hammer Productions. The Face of Horror ends up being a fun, campy ride that ultimately overstays its welcome.
Right from the outset, the film’s campy nature is apparent. We see Edward (Jonah Hauer-King) and his squire, Richard (Leo Suter), pillaging a village, with over-the-top sword slashes and dismemberments that really do look and sound like throwbacks to a bygone era. The dialogue is delivered with a ham-fistedness that takes a moment to get used to, but once you find its rhythm, it adds to the film’s overall aesthetic. I feel if you’re not on board with the film’s intention within ten minutes, this film will not be up your alley.
Clocking in at over two hours, the film’s biggest barrier to entry is its runtime. It never feels as though it justifies its length, and the film begins to drag, especially once its general direction has been established early on. As a result, it feels like a film that, with tighter editing, could have been much punchier. By the time we reach the juicy, blood-soaked carnage near the conclusion, it can feel like too little, too late.
The film is utterly gorgeous from an aesthetic standpoint, with breathtaking set design by Lukas Jakobek that feels both uncanny and visually striking for the period. This is complemented by the colourful costume design by Biller herself, all of which is beautifully captured through M. David Mullen’s stunning 35mm cinematography. Together, these elements create the unique aesthetic that Biller seeks to achieve.
None of this would work, though, if the cast didn’t give it 100%. Bella Heathcote is truly wonderful as Isabel, a naïve yet innocent woman whose life is turned upside down by the man she believes to be her ideal partner. That man, Edward Carnifex, is excellently portrayed by Hauer-King, who is deliciously evil as the stereotypical 14th-century patriarch, seeking nothing but power and a woman who will serve him. The rest of the cast are also excellent, further enhancing the film’s wild aesthetic.
While this is not necessarily a criticism, as it is not what the film is trying to be, I still wish it had incorporated more elements of Kabuki theatre by featuring either an all-female or all-male cast. Personally, I feel this would have made for a more interesting adaptation while also shining a light on an art form that is rarely discussed. Aside from Kokuho, released earlier this year, Kabuki theatre rarely receives much attention in mainstream cinema.
The Face of Horror is a fun, gloopy good time. A visually striking, if overly long, ghost story, it is unlike anything I have seen before. It is far from perfect; however, I cannot help but be entranced by what unfolds on screen.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Ewing
