Mona Lisa and the Blood Moon: Stunning visuals overshadow weak storytelling

The opening shot of Mona Lisa and the Blood Moon is a haunting one: Jeon Jong-seo’s Mona Lisa Lee, her eyes wide with quiet fury, telekinetically shattering an asylum window. This moment sets the tone for Ana Lily Amirpour’s neon-soaked nightmare—a film that thrives on style but stumbles in substance.

Amirpour, known for her visually striking work (A Girl Walks Home Alone at Night), once again crafts a world drenched in atmosphere. New Orleans becomes a character itself, its grimy underbelly pulsing with a synth-heavy soundtrack by Daniele Luppi and Bottin. The city’s neon lights reflect off rain-slicked streets, creating a lurid dreamscape that’s both alluring and unsettling. The production design is meticulous, from the claustrophobic asylum to the seedy strip club where Kate Hudson’s Bonnie Belle performs.

The film’s aesthetic draws clear comparisons to Amirpour’s previous work, but Mona Lisa and the Blood Moon ventures into darker territory. The eerie quiet of her debut gives way to a cacophony of noise and chaos here, mirroring Mona Lisa’s internal turmoil. Yet for all its visual flair, the film struggles to ground its narrative. Mona Lisa’s journey—from escaped mental patient to reluctant protector of a young boy—lacks emotional weight. The film’s pacing is uneven, oscillating between moments of eerie tension and meandering scenes that feel like filler. The central mystery—what exactly Mona Lisa wants or needs—remains frustratingly opaque. Even her psychokinetic powers, while visually impressive (a standout moment involves her causing Officer Harold to shoot himself in the knee), lack clear rules or stakes.

Performances are a mixed bag. Jeon Jong-seo delivers a quietly compelling turn as Mona Lisa, conveying volumes with minimal dialogue. Her silent intensity is the film’s emotional anchor, even if the script doesn’t give her enough to work with. Jong-seo’s ability to communicate so much without words is reminiscent of Tilda Swinton in Only Lovers Left Alive, another film that relies on atmospheric storytelling over exposition.

Kate Hudson, meanwhile, chews scenery as Bonnie Belle, a stripper with a heart of gold and a knack for trouble. While Hudson brings energy to the role, Bonnie Belle’s arc feels underdeveloped. Her friendship with Mona Lisa dissolves abruptly without sufficient buildup, leaving her character feeling more like a plot device than a fully realized person. It’s a shame, because Hudson has proven herself capable of nuanced performances (Almost Famous), and here she deserves more to work with.

Craig Robinson fares better as Officer Harold, embodying the weary cop chasing Mona Lisa with a mix of determination and desperation. His performance adds a layer of humanity to what could have been a one-dimensional antagonist. Evan Whitten, as Charlie, Bonnie’s son, is surprisingly effective, grounding the film’s more fantastical elements in genuine emotion. His scenes with Jong-seo are some of the film’s most touching, offering a glimpse of the warmth and connection that Mona Lisa so desperately craves.

The film’s greatest strength—and its Achilles’ heel—is its refusal to conform to genre expectations. Amirpour blends mystery, fantasy, and thriller with a hand so light it often feels aimless. The result is a film that’s visually arresting but narratively adrift. It’s hard not to wish for more cohesion, or at least a clearer sense of purpose.

Thematically, Mona Lisa and the Blood Moon explores ideas of belonging and otherness. Mona Lisa is an outsider in every setting she encounters, from the asylum to the streets of New Orleans. Her struggle to find a place in the world resonates, but the film’s fragmented narrative prevents these themes from fully coalescing. Amirpour’s direction is bold and uncompromising, but the script feels like it could benefit from tighter editing.

The film’s soundtrack deserves special mention. Daniele Luppi’s original score, combined with Bottin’s songs, creates an immersive atmosphere that enhances the film’s dreamlike quality. The music underscores the action without overpowering it, a testament to Amirpour’s skill as a director.

In the end, Mona Lisa and the Blood Moon is a feast for the eyes but a puzzle for the mind. It’s a film that demands patience and engagement, rewarding viewers with stunning visuals and moments of genuine emotion. However, its narrative shortcomings prevent it from reaching its full potential.

Mona Lisa and the Blood Moon is for fans of atmospheric cinema who don’t mind a bit of ambiguity. It’s not a film for those seeking straightforward storytelling or clear resolutions. Amirpour’s vision is undeniably unique, but it’s also frustratingly inconsistent.

The film had its world premiere at the 78th Venice International Film Festival on September 5, 2021, and was released by Saban Films in the United States on November 18, 2022.