21-year-old Mariana belongs to a world where she must do her best to keep the appearance of being a perfect woman. She needs to share the word of God, resist temptation, etc. Mariana and her friends make sure that everyone and everything follows the order of their beliefs, especially sinners. To make sure that these “sinners” follow their ideas, they put on masks to hunt and beat all the women who have deviated from the right path at night. However, the day for inner change might come sooner than they expect.
Starting with a group of girls wearing masks caused me mixed feelings. It reminded me of the pompous Sam Levinson film “Assassination Nation,” which also wanted to dwell on female empowerment, sex, etc. Yet, “Medusa” takes a broader turn. It starts provocatively with a group of women beating a girl up until she accepts the Lord in her life since she is a sinner. The aspect is the next scene, those same women singing and preaching about the Lord with caked-up makeup. In just two images, the movie took several turns in an intelligent way of delivering social commentary on the contradictions of religion and beliefs.
The film hooks you in only the first few minutes; but now, where does it go from there? How do you keep the audience’s focus regarding these themes? Rocha da Silveira builds up tension with uneasiness and worries thanks to the quick realization of the characters. Mariana’s faith starts to change after an incident that leaves her with a permanent scar on her face and forging a relationship with her co-worker. She notices that what she has been doing all this time was forced upon by society.
It is all working out quite nicely and better than one might think. There were some strong performances, a lovely color palette that brightens or darkens the atmosphere depending on which side of the coin we are in, and an ’80s synth score that was weird at first but managed to be quite fitting. Those elements help develop the movie’s essential aspect, which is the setting and tone. The problems come primarily in its third act and the implementation of the Greek allegory of Medusa.
Although it has a stranger manner of depicting its subject matter, it doesn’t have that much to say. It has a loud voice that wants to shine a light on the problems currently affecting Brazil; however it downplays the issues as it embraces the mythology parable. The third act switches several lanes, both for better or worse, ending in a self-kerfuffle. It downgrades the daring attitude initially cemented on-screen and feels less impactful even with its howling ending.
Although it is indeed evident that Anita Rocha da Silveira does craft some well-constructed pieces, some moments could have been cut or gotten to the point a bit faster than they did. Nevertheless, “Medusa’s” voice is poignant and has solemnity; its most subtle yet vexing moments are its best and most memorable. Admittedly, it isn’t the best film to cover these themes or put on “aggressive” while delicate structures to depict them; still, you want to keep watching to see where it goes.
This review of “Medusa” is written from its screening at the 2021 Toronto International Film Festival (TIFF).
