Critical reception to Her Private Hell
On May 18th, Her Private Hell, directed by Nicholas Winding Refn and starring Sophie Thatcher,Charles Melton, Havana Rose Liu, Kristine Froseth, and Diego Calva, premiered at Cannes to mixed reviews. Many critics were quick to praise the film for its stylistic, bold, and experimental decisions, while also tearing it apart for its hollow plot; style without substance. The film is guided not by plot, but rather by mood and imagery, operating almost as a dream or hallucination, rather than a coherent story.
Similar to most directors at Cannes, Refn has a decent-sized body of work. His catalogue of work includes Pusher (1996), Drive (2011), Only God Forgives (2013), and The Neon Demon (2016). While this is a very impressive resume, many critics felt that he was retreading old ground with this film. Whereas Refn’s other films have been able to handle similar techniques he employs here, such as fragmented storytelling, a strange neon atmosphere, and an intentionally difficult plot to interpret, Her Private Hell fails to juggle these balls and inevitably falls flat for many audiences.
Although much of what the critics are saying is negative, the commonality through many reviews was admiration for the visual elements of the film. Citing the neon lighting, surreal futuristic cityscapes, elaborate production design, and hypnotic camera movements as the film’s strongest aspects. Another appraisal from critics was for the score. According to some, Pino Donaggio, the composer of the film, gave the movie weight with his work and helped tie together some of the more abstract imagery.
This amalgamation of neon lights and sensuality is definitely one that will stick in the mind for a while, and this may be thanks to Sophie Thatcher, who many are claiming carried the rest of the cast. However, it isn’t impossible to be the most talented actor on screen when everyone on screen with you is treated as an image rather than a fully developed character.
All together, this film is definitely a memorable one, and seemingly may tell us a lot about the future of cinema. This ambitious vision is definitely unique and unlike many mainstream franchises in terms of filmmaking, and there is hope in that. Refn continues to work and create what he believes is interesting, and as long as he continues to be creative, it is inevitable that another film of his will be as well-received as his previous work.
