Equally depraved and thoughtful, The Ugly Stepsister is a twisted achievement

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For those who believe that unconventional art merely consists of offensive language towards marginalized groups or complaining about “safe spaces”, I encourage you to examine the twisted yet praiseworthy reinterpretation of Cinderella by writer/director Emilie Blichfeldt, titled The Ugly Stepsister. This film truly embodies the spirit of being “subversive” and “transgressive”, rather than merely using those terms to mask bigotry. If you consider yourself someone who finds pleasure in the unusual or enjoys shouting “yes…ha ha ha….YES”, then make sure The Ugly Stepsister is at the top of your watchlist. Brace yourself for a film that will both disgust and provoke thought.

Instead of merely being a grittier rendition of “Cinderella,” The Ugly Stepsister stands out as the most rebellious take on contemporary reimaginings of timeless tales, focusing on the perspectives of secondary characters, similar to works like Wicked or Rosencrantz and Guildenstern Are Dead. In this adaptation by Blichfeldt, the narrative commences as Elvira (Lea Myrden) and Alma (Flo Fagerli) join a new family following their mother Rebekka’s remarriage. These characters correspond to the stepsisters from the original “Cinderella” story, while Agnes (Thea Sofie Loch Næss) assumes the role of the protagonist that mirrors the classic princess in Stepsister’s version of the tale.

In the current narrative, Elvira, previously a one-dimensional “wicked” character, is given greater complexity compared to her portrayal in stories like “A Cinderella Story”. Blichfeldt introduces Elvira as a young woman deeply infatuated with poems about the local prince and longing for him. However, when her family’s financial stability is at risk, she feels compelled to marry this wealthy man, abandoning her romantic fantasies.

On the other hand, Rebekka, Elvira’s mother, is hell-bent on transforming her “ugly” daughter into the “perfect” woman. This leads to a series of extreme beauty treatments in an attempt to conform to society’s unattainable standards for women during the 19th century. These methods range from physically painful procedures like chiseling, to ingesting tapeworms to alter her weight and appearance.

Initially, while watching the film “The Ugly Stepsister“, it wasn’t immediately clear that Blichfeldt was portraying a gruesome interpretation of Cinderella. However, the captivating nature of her characters and storylines soon made this evident. The psychological depth of these female characters is not reliant on familiarity with other Cinderella adaptations but instead stands independently as compelling creations. Furthermore, Blichfeldt delves into unexplored aspects of these fairy tales, such as the early scenes depicting Agnes’ profound sorrow over her father’s death and her desperate attempts to give him a proper burial – elements often overlooked in “realistic” revisions of traditional fairy tales.

In simpler terms, “That heavy subject matter wouldn’t fit in a Shrek sequel or Fractured Fairy Tales episode, but it still feels like a natural part of a classic fairy tale plot (the father who dies and the evil stepmother takes over). However, it’s also very well-done on its own. The way this show balances being brutally shocking at times and showing deep empathy is quite impressive. When you see vomit, worms, and decaying bodies, The Ugly Stepsister certainly doesn’t disappoint. Even the most hardened viewers might find themselves exclaiming ‘oh man!’ while watching its most extreme scenes.

Despite the harsh and prickly imagery, the film “The Ugly Stepsister” cleverly contrasts its stark visuals with tender, empathy-inducing shots of Elvira. Notably, close-ups of various parts of Elvira’s body, such as her stomach, while she sits naked in her bedroom, create a sense of intimacy and vulnerability. In isolation from the world, the camera gently and affectionately examines a body that Elvira despises. The film portrays societal expectations, her mother’s impossible beauty standards, and even the poems Elvira ponders over as all telling this 18-year-old she’s not good enough. However, “The Ugly Stepmother” takes time to convey a message of acceptance and love that Elvira desperately needs if only she could comprehend it.

Elvira is not merely a canvas for gruesome, elaborate special effects; she’s a deeply tragic character. Despite her oppressive circumstances, she aspires to fit into this system that holds her down. The heart-wrenching moments like her growling stomach or screams of pain are intense because Blichfeldt manages to make us empathize with Elvira. On the other hand, The Ugly Stepsister portrays body horror in a more extreme manner, but it takes a back seat to the real horrors: adult men leering at teenage girls, and scenes like Agnes being scolded for standing up to an abusive man or the prince behaving crudely with his companions in the woods. Scenes of middle-aged men lusting after teenagers and a prince acting lewd are equally disturbing as those depicting maggots, tapeworms, and blood.

In my perspective, “The Ugly Stepsister” doesn’t shy away from exaggerated physical traits and grotesque imagery of decaying bodies. However, what truly disturbs the audience is its critique of capitalism-driven dehumanization experienced by marginalized genders. This film’s heightened portrayals of misogyny are sadly reflective of our contemporary society. Similar to “Showgirls,” “Society,” and “D.E.B.S.” before it, “The Ugly Stepsister” employs a maximalist narrative to underscore the absurdity of accepted inequalities. Whether you view this twisted take on “Cinderella” as an exploration of Elvira’s character, a commentary on misogyny, or simply as shock-value cinema, “Stepsister” delivers remarkably well.

This project thrives on its exceptional eye for visual detail. Manon Rasmussen’s costumes, in particular, are richly detailed and lavish. The vibrant ensembles seem perfectly at home in either Sally Potter’s Orlando or Joe Wright’s Anna Karenina. The authentic European attire adds an extra layer of dark humor as they contrast dramatically with the extreme body horror scenes. Similarly, the dreamlike sequences, marked by soft framing and a romantic aesthetic, comically echo the initial part of Key & Peele’s “Power of Wings” music video.

Although it evokes recollections ranging from “Key & Peele” to “Donkey Skin” to “The Neon Demon”, Emilie Blichfeldt’s “The Ugly Stepsister” seamlessly merges past pop culture references into a unique, unapologetic masterpiece. With her fearless creative vision, Blichfeldt fearlessly incorporates elements that would send other filmmakers fleeing into the night – morally complex female characters and intense body horror. Even those with delicate constitutions should catch “The Ugly Stepsister” immediately. This film stands as a shining example of the iconic John Waters quote: “To appreciate bad taste, one must have excellent taste.

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2025-05-05 20:15