Strange Darling completely shatters every expectation you might have of what initially seems to be a fairly cut and dry serial killer film: every chapter completely rips the carpet out from under what you think is going on between Willa Fitzgerald (The Lady) and Kyle Gallner (The Demon). Is it a one night stand gone horribly wrong? Is it some kinky game gone astray? 2024 has brought us some of the blandest films imaginable, so it’s refreshing to see a film from a director who is in full command of his craft and can play with the audience like a puppet-master.

The film marks both the debut of long-time actor Giovanni Ribisi as a cameraman, and the most exciting new voice in American independent cinema with JT Mollner. This is Mollner’s second film after the western Outlaws and Angels, which premiered at Sundance in 2016.

Non-linear structures can be a crutch to mask a filmmaker’s failings, but with Strange Darling it’s all about the twists and turns, which are carefully calculated with each reveal during the film’s six chapters. It’s a really impressive movie. Both of the leads have been a round for a while. Fitzgerald is mainly known for her TV work in the Scream TV series and Netflix’s Fall of the House of Usher. Gallner already has a bit of a cult following, starting with Jennifer’s Body but more recently the Scream sequel/reboot, Smile and Dinner In America. Both give star making performances and if there was any justice in the world Fitzgerald would be a nominated for a Oscar…. she won’t. 

Mollner had to fight like hell to get final cut on the film after Miramax recut it (and this is the post-Weinstein Miramax!)—but after Tiffany Haddish advocated on Mollner’s behalf with Miramax CEO Bill Block and a contractually obligated test screening of Mollner’s cut, Miramax relented and Block actually personally apologised to Moller for his trouble. When you see the film, the idea that somebody could think a linear version would possibly work will baffle you.

There hasn’t been a film yet with this kind of strong depiction of the state of Oregon since Gus van Sant’s early films, even though films are shot there all the time like the Twilight films for example. The Mt. Hood territory where the film is set is prime Sasquatch country (Mt. Hood is the hotspot for sightings). It’s home to two eccentric hippie doomsday preppers—although Ed Begley’s character wants it to be known he was a biker not a hippie—with whom The Lady seeks refugee, so of course he asks her if she is sure it’s not the ‘Squatches after her. The film depicts the strange and vast Oregon woodlands, a place full of ‘Squatches, hippies, preppers, white supremacists and yes, even serial killers (Ted Bundy and the Green River Killer both operated in Oregon). It’s not hard to believe that Sasquatches and serial killers can run rampant there. 

Also, in a world where there is much too much mediocrity shot digitally, it’s refreshing to Strange Darling proudly proclaiming that it was “shot entirely on 35MM” the moment the company credits end at the beginning of the film. Just don’t try the preppers choice of breakfast you might gag when you see the film. 

Ian Schultz

Strange Darling is showing on Saturday 19th and Wednesday 23rd October at 20:40