The Woman (2011)

Directed by: Lucky McKee | 95 minutes | crime, drama, horror, thriller | Actors: Pollyanna McIntosh, Brandon Gerald Fuller, Lauren Ashley Carter, Chris Krzykowski, Sean Bridgers, Angela Bettis, Marcia Bennett, Shyla Molhusen, Gordon Vincent, Zach Rand, Shelby Mailloux, Tyler Merlini, Jordan Carrasquillo, Jordan Chapalonis, Carlee Baker, Amanda Daryczyn, Lindsey Hamlett, Lauren Schroeder, Lauren Petre, Michael McKee, Joanna Herrington, Alexa Marcigliano, Shana Barry

The curiosity about the maker and creator of a film is probably nowhere so strongly nurtured as in ‘The Woman’. Anyone who is already blown away by the cinematic brain twists that the Tarantinos of this world fire at us will undoubtedly experience a new film dimension in ‘The Woman’. One that is a bit difficult to explain, but where words like disgusting, dirty and perverse cover the load. The question quickly arises as to which psychopathic brain is hidden behind this film from 2011. It is the – somewhat less well-known – director and writer Lucky McKee. With ‘The Woman’ McKee skillfully makes your appetite disappear. Unless your stomach is growling with cannibalism.

In ‘The Woman’, crazy lawyer Chris Cleek (Sean Bridgers) keeps a woman captive in his shed. The woman appears to come from a cannibalistic tribe and is completely alienated from civilized society. Cleek sees the woman as his personal toy and also involves his wife and children in his ill behavior.

‘The Woman’ knows a lot of bloodshed, torn organs and bitten limbs. The scenes are very explicitly portrayed, with the (good and less good) effects clearly visible. Yet ‘The Woman’ is not only sickening because of the gruesome images. The sick sadistic behavior of main character Cleek only causes real disgust; the brainwashing of his family, his rape practices and the drilling of his equally deranged son. These are the moments when the viewer questions the psychological condition of writer McKee himself.

‘The Woman’ is therefore quickly etched in the memory because of her brutal, revealing character. In terms of content, the film is less memorable and sometimes even a bit slow. During the intro we get acquainted with ‘The Woman’ (Pollyanna McIntosh), with a lot of fanfare, in which rapid image changes, shadows and terrifying music almost provide a ridiculous prelude to the further story. Anyone who accepts this will notice that the further course of the film is expanded with more tact. The sick characters win out over the mediocre acting, which keeps the fascination.

Striking about ‘The Woman’ is the lack of a classic good versus bad ratio. As a viewer, there is little to choose sides and to find sympathy in the various main characters. That may be at the expense of the empathy that makes you view this film with some distance. By the time daughter Peggy (Lauren Ashley Carter) starts to speak more in terms of role, the story has already reached its peak. Despite her underdog position, ‘The Woman’ herself also commands little respect. Her beastly appearance is downright monstrous. Again, curiosity is nurtured here. This time to the actual appearance of actress Pollyanna McIntosh. The Internet offers a solution.

‘The Woman’ results in a flurry of morbid events that lingers for a while. As in many similar horror films, it is the dark atmosphere that is above all responsible for the success of the film. In that sense, it succeeded. You then take the rest for sale.