Anna Biller is positioning her new medieval horror as a bold, auteur-driven masterpiece that challenges traditional narrative structures through a distinct female gaze.
The drama isn't just on screen; Biller is openly calling out the industry's bias, suggesting that 'male point of view' projects are systematically favored for distribution and sales over her female-centric visions.
Biller describes the climax of 'The Face of Horror' as 'Joan of Arc versus Jesus.' She stars Jonah Hauer-King as Edward and Kristine Froseth as Eleanor in this tale of a chauvinist knight and his devoted wife.
Anna Biller isn't just making movies; she's picking fights with the patriarchy of Hollywood distribution, and the receipts are spicy.
Anna Biller is back, and she’s bringing the heat along with her highly anticipated follow-up to the cult classic 'The Love Witch.' In a candid new interview with Variety, the auteur didn't just talk about her new film, 'The Face of Horror'; she dragged the entire industry’s double standards right into the spotlight. Biller’s description of the film’s climax is nothing short of provocative: she calls it 'Joan of Arc versus Jesus.' It’s a bold metaphor for a medieval tale that centers on Edward, a chauvinist knight played by Jonah Hauer-King, who is desperate to ditch his hopelessly devoted wife, Eleanor, portrayed by Kristine Froseth.
The drama, however, extends beyond the screen. Biller is openly airing her grievances with the project 'Obsession,' hinting at deep-seated issues that seem to stem from Hollywood’s persistent preference for the male gaze. Her stance is blunt and unapologetic: 'The male point of view is always going to sell better.' It’s a statement that cuts to the core of why female-led genre films often struggle to get the same marketing push as their male counterparts, despite critical acclaim.
Biller isn't hiding behind PR fluff; she’s naming the bias directly, suggesting that the industry’s financial instincts are wired to favor stories where men are the active protagonists. For fans of 'The Love Witch,' this new project promises the same visual lushness and subversive take on gender dynamics, but with a darker, more confrontational edge. The casting of Hauer-King as the knight and Froseth as the wife sets the stage for a power struggle that Biller seems eager to dissect on camera.
The 'Joan of Arc versus Jesus' comparison suggests a climax where religious and gendered archetypes collide violently, promising a finale that is as intellectually challenging as it is visually striking. Biller is clearly using her platform to not just entertain, but to indict. While the specific details of the 'Obsession' issues remain somewhat veiled in the teaser, the implication is clear: Biller feels the weight of a system that prioritizes male narratives.
By linking her new film’s content to her professional frustrations, she’s creating a meta-narrative where the art and the artist’s struggle are inseparable. This isn't just a movie review; it's a manifesto. If 'The Face of Horror' lives up to the intensity of Biller’s commentary, it could be the most talked-about indie release of the year, precisely because it refuses to play nice with the status quo.
