Alright, let’s get into it. Strange Darling is a movie that probably wants you to walk in like a newborn baby—clueless, helpless, and in for a world of weird shit. Writer-director JT Mollner sure loves himself a good ol’ non-linear narrative, slapping his movie together in six out-of-order chapters like some kind of bloody jigsaw puzzle for us sickos to put together. And boy, does this flick deliver on the blood and mind-bending confusion.

Mollner’s got balls, I’ll give him that. Taking a genre that’s been choked out by every indie filmmaker who worships at the altar of Pulp Fiction, he manages to deliver something fresh, with just enough pretentiousness to keep it interesting but not quite enough to make me want to chuck my popcorn at the screen. Mollner’s got chops—he can direct the hell out of a scene and make it look gorgeous. Plus, he convinced Giovanni Ribisi to shoot this thing on 35mm film like it’s the freaking 1970s. More on that in a bit.

So, we’ve got The Lady (Willa Fitzgerald, crushing it – from The Fall of the House of Usher and Scream: The TV Series), and The Demon (Kyle Gallner, also crushing it – from Scream, Smile, and The Passenger), locked in a game of cat and mouse after what appears to be a one-night stand gone worse than your average dating horror story. Honestly, I really don’t want to reveal anymore without the usual spoiler warning. I strongly suggest you just jump into this flick as blind as possible before reading on.

I say “appears” because Mollner loves playing with timelines so much that you don’t really know what the hell’s happening until like halfway through. Even then, you’re still piecing it together like a stoned detective working his first murder case.

At the start, we see The Demon chasing The Lady down in his pickup, and it looks like your typical “psycho killer goes after terrified girl” setup. But of course, Mollner’s smarter than that. Turns out, The Lady might not be the helpless victim we first thought. No, she’s got some serious serial killer vibes herself. Twist! This chick’s got more red flags than a Soviet parade, and the movie makes you question who you should be rooting for. Spoiler: It’s no one. They’re both fucked.

Speaking of the leads, let me tell you—Willa Fitzgerald is a force. If you thought she was good in the Scream television series, she turns it up to 11 here, balancing somewhere between terrifying and sympathetic. One minute she’s screaming for her life, the next she’s pulling off some “I might just murder you for fun” vibe. It’s hard not to be totally captivated by her. Kyle Gallner, meanwhile, continues his streak as indie cinema’s go-to guy for “dude who looks like he’d stab you but also cry about it later.” His portrayal of The Demon is both menacing and, somehow, kind of pitiful.

Alright, now let’s talk visuals. Strange Darling is a film shot entirely on 35mm, which feels like Mollner’s way of saying “Look, Mom! I made a REAL movie!” And I’ll admit, it looks damn good. The colors pop, the framing is solid, and there’s this gritty texture to everything that feels like you’re watching a forgotten ‘70s thriller. Giovanni Ribisi—yes, that Giovanni Ribisi—is the cinematographer here, and honestly, he nails it. Whether it’s the neon-soaked motel room or the sunlight streaming through the trees as The Lady runs for her life, the film’s got a visual style that’s almost hypnotic. If you’re a fan of that washed-out, grainy aesthetic, you’re in for a treat.

Mollner’s script is tight, and the dialogue’s got a real snap to it. The back-and-forth between The Lady and The Demon is razor-sharp, and you can tell Mollner had a blast writing these characters. But sometimes, the script feels like it’s trying a bit too hard. Like, we get it, JT. You’re smart. The problem is, the film feels so wrapped up in its own cleverness that it forgets to really develop its characters. It’s all surface-level chaos that lacks some depth, which kind of sucks because Fitzgerald and Gallner are out here acting their damn hearts out.

At its core, Strange Darling is all about flipping traditional gender roles on their heads. At first, we think we’re watching a movie about a woman running from a psycho, but then we realize she might be the psycho. It’s kind of like Mollner wants to give the middle finger to every “damsel in distress” trope ever. And it works.

That said, the film also dips its toes into some murky waters with its handling of sexual violence and consent. There’s a particularly messed-up scene where The Lady tricks The Demon into thinking he’s overstepped during their S&M play. It’s uncomfortable, and not in a fun, horror-movie way. More in a “this is borderline problematic” way. Mollner’s playing with fire here, and I’m not sure he’s fully in control of it.

The soundtrack here is weirdly great. There’s a killer moment where The Lady is sprinting through the woods with a cover of “Love Hurts” blaring in the background, which is both on-the-nose and oddly fitting. The sound design, too, is tight. Every gunshot, every crunch of leaves underfoot, it all feels like it’s happening right next to you. It’s immersive in the best way.

What makes Strange Darling stand out from the sea of indie horror thrillers is how unpredictable it is. The non-linear structure keeps you guessing, and Mollner never lets you settle in for too long. Just when you think you’ve got a handle on what’s happening, BAM! Another twist slaps you across the face. The visuals, too, are a massive highlight. Ribisi’s cinematography combined with the sound design makes this one of the most visceral viewing experiences I’ve had in a while. It’s tense, it’s bloody, and it’s beautiful in a really messed-up way.

My main gripe with Strange Darling is that it’s almost too clever. There are times when it feels like Mollner is standing behind the camera yelling, “Look how smart I am!” The non-linear structure, while cool, sometimes feels like a crutch to hide the fact that there’s not much going on beneath the surface. Sure, it’s a thrill ride, but once the adrenaline wears off, you’re left wondering what the substance of the film really is. Also, the handling of certain themes (consent, violence against women) is shaky. It feels like Mollner’s biting off more than he can chew, and instead of exploring these ideas in a meaningful way, they come off as shock value that can be ultimately dismissed due to one of our characters being an incredibly devious serial killer.

Ultimately, I had a ton of fun with this flick. It’s one hell of a ride. And at the end of the day, isn’t that what we want from a movie like this? So grab a beer and enjoy the blood-soaked madness that is Strange Darling.