Blending sensuous imagery with jabs of feminist wit — at one point, a vibrator is weaponized against a male intruder — Colbert sends her heroine on a transformative journey of revenge and renewal.
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It’s the film’s mercurial nature, its hazy dreamlike logic, that makes it so extraordinary.
Krige is magical enough in a complex role (and relative newcomer Eberhardt makes for a wonderful foil), but she can only pull the film along through sheer force of will for so long.
You watch this film and never, for a second, do you forget you’re seeing art in motion.
She Will can’t decide if its horror or comedy, nor does it strike the balance that would harmoniously hybridize them.