Anna Biller Discusses ‘The Face of Horror’ and Male Gaze

Filmmaker Anna Biller, known for her distinctive visual style in “The Love Witch,” has discussed the upcoming release of her new film, “The Face of Horror.” Biller described the climax of the film as a confrontation akin to “Joan of Arc versus Jesus,” highlighting a central theme of conflict within the narrative. The film reportedly features a Medieval tale where a chauvinist knight, Edward, portrayed by Jonah Hauer-King, seeks to leave his wife, Eleanor, played by Kristine Froseth, for another woman, Isabel, depicted by Bella Heathcote. This narrative setup immediately introduces themes of desire, betrayal, and the complexities of relationships, all filtered through Biller's unique aesthetic.

In a recent exclusive interview, Biller elaborated on her artistic vision and her observations about the film industry. She specifically addressed the pervasive influence of the male point of view in storytelling and its commercial implications. Biller stated, “The male point of view is always going to sell better,” a candid assessment of market dynamics that often prioritize narratives and perspectives traditionally associated with male audiences and creators. This perspective suggests a critical stance on how gender and perspective shape cinematic content and its reception, implying that stories centered on female experiences or perspectives may face greater challenges in achieving widespread commercial success.

Biller's comments also touch upon the concept of obsession, a theme that appears to be explored in “The Face of Horror” and potentially in her previous work. The comparison of the film's climax to a battle between Joan of Arc and Jesus is a potent metaphor, suggesting a clash of divine or deeply held convictions, possibly representing a struggle between female agency and patriarchal or societal forces. The characters of Edward, Eleanor, and Isabel, with their defined roles of the chauvinist knight, the devoted wife, and the glamorous object of desire, set the stage for exploring these thematic elements. The film’s setting in a Medieval context further allows for an examination of historical power dynamics and gender roles, which Biller may be reinterpreting or critiquing through a contemporary lens.

Anna Biller's directorial approach is characterized by meticulous attention to detail, vibrant color palettes, and a deliberate pacing that immerses the viewer in her created worlds. “The Love Witch,” her 2016 film, garnered significant critical attention for its homage to 1960s and 70s exploitation and giallo films, while also offering a feminist critique of female archetypes and romantic obsession. With “The Face of Horror,” Biller appears poised to continue her exploration of complex female characters and societal pressures, using genre conventions to deliver a message that resonates beyond the immediate plot. Her insights into the commercial realities of filmmaking, particularly concerning the dominance of the male gaze, provide a crucial context for understanding her artistic choices and the potential impact of her new film.