The Face of Horror is the new film from Anna Biller after a 10 year gap from her critically acclaimed film, The Love Witch. In this new film, Anna Biller continues to explore feminist themes she’s had in her previous work. The film is loosely based on a Japanese folklore tale of a woman who haunts her cheating spouse in the afterlife. I was able to catch the film at its world premiere during TIFF’s Midnight Madness last month.

Kristine Froseth stars in the film as Eleanor a young woman who yearns for love. Eleanor lives at home with her sister Beatrice and their father. Jonah Hauer-King plays Edward a wannabe knight that is just looking to weasel his way into a better life for himself and his sire Richard. Leo Sutter plays the role of sire Richard and alongside Edward are pretty much modern tools. Edward realizes Eleanor’s yearning, so he sets his sights on Eleanor and her family estate. I won’t get much more into the plot as I think it’s best to let the film unravel for you.

The Face of Horror will immediately have you thinking of old school Hammer films and filmmakers of the past like Bava. There is a craftsmanship present here that you just can’t find anymore. All of the colors pop and the production design looks ripped out of a classic book like a Brothers Grimm story. Anna Biller is no stranger to having elevated productions and beautiful colors as she previously demonstrated in The Love Witch. In The Face of Horror, it’s all elevated to a whole different level, and really delivers some of the most beautiful imagery I’ve seen all year. There is so much attention to detail with the costumes and the sets. It feels so vintage but also fresh at the same time with some incredible flair Biller has throughout.

Kristine Froseth is truly having an exceptional year with Her Private Hell and now The Face of Horror. The actress demonstrates such an incredible range in Biller’s production. Eleanor is a character that longs for love and is ready to do whatever for that love. This anguish and despair that Eleanor faces is critical to the story. Froseth really hones in on these feelings and makes them jump out of the screen. I found myself moved and feeling for Eleanor and everything she is put through in the film. All of this thanks to the outstanding performance that Froseth is able to deliver. Ellie Bamber as Beatrice really gets her moment to shine in the film’s third act. It almost feels like a crescendo thinking back on the film. There is an incredible sequence with Beatrice that I feel will be eternalized on the internet in the final act. All of this due to the timeless production design but also Bamber’s determined performance. Jonah Hauer-King plays the role of the jerk that feels everyone should have pity on him so well. Hauer-King as Edward is such a great villain to this story as he just gets under your skin so quick. It’s interesting to see King in this role as just a few years ago he was Prince Eric in The Little Mermaid.

I really vibed with most of the film minus a couple of minor things. The editing can feel a bit jarring especially at the beginning and to me, felt it disrupted the flow. However, I quickly realized halfway it was definitely an intentional choice to do this for the feel of the film; I ended up finding myself not really minding it or paying attention to it halfway. The Face of Horror can at times feel as if certain scenes would linger for too long. I do understand letting the film settle and taking things in but sometimes it was a bit much. This might make it somewhat tedious in moments but otherwise it’s reeled in by the amazing performances. It wasn’t much of an issue in retrospect but in the moment I wondered why some scenes would hold for so long.

The Face of Horror is welcome return for Anna Biller, a creative that is unconforming and equally inspiring. A stand out performance from Kristine Froseth and some truly awe inducing production design is what sets it apart this year. I would happily revisit this one numerous times to just stare in awe at the incredible sets and costumes. I can’t recommend it enough especially if you’re a fan of Anna Biller’s work and of course, the spirit of cinema.