She Will: A haunting yet uneven descent into trauma

The night train cuts through the Scottish countryside, its rhythmic clatter a lullaby for Veronica (Alice Krige), an aging film star seeking refuge after a double mastectomy. Charlotte Colbert’s directorial debut, She Will, unfolds as a psychological horror-drama that weaves trauma with the supernatural, exploring how the past lingers like a specter.

Veronica retreats to a remote estate with her nurse Desi (Kota Eberhardt), hoping for solitude and recovery. Instead, she finds herself entangled in the estate’s eerie history, where the line between dreams and reality blurs. The film’s strength lies in its atmospheric tension, particularly in the night-time location shots that amplify the isolation and dread. Colbert’s direction excels in these moments, using the desolate Scottish landscape to mirror Veronica’s inner turmoil.

Alice Krige delivers a compelling performance, embodying Veronica’s vulnerability and resilience with nuance. Her portrayal of a woman grappling with physical and emotional scars is the film’s anchor. Kota Eberhardt as Desi provides strong support, adding depth to their complex relationship. Malcolm McDowell’s cameo as Hathbourne, the estate’s enigmatic owner, is brief but memorable, injecting an air of menace that lingers long after his scenes.

However, She Will stumbles in its pacing and narrative cohesion. The film’s structure feels disjointed at times, with dream sequences that, while visually striking, sometimes obscure rather than illuminate the story’s emotional core. The supernatural elements, though intriguing, could have been better integrated to avoid moments of tonal whiplash.

The originality of She Will lies in its exploration of trauma and empowerment, particularly through the lens of a woman reclaiming her agency after a life-altering medical procedure. Colbert’s vision is ambitious, blending horror and drama to create a unique narrative that challenges traditional genres. Yet, the film’s genre fit is where it falters most. The horror elements feel underutilized, and the psychological thriller aspects could have been deepened with more subtle character development.

In the end, She Will is a flawed but fascinating debut that showcases Charlotte Colbert’s potential as a director. It offers a haunting exploration of trauma and resilience, even if it doesn’t fully cohere.

The film’s central theme of trauma resonates deeply, particularly in how it portrays Veronica’s journey towards healing. Krige’s performance is the heart of this narrative, her ability to convey both fragility and strength making Veronica a relatable and compelling protagonist. The supporting cast, including Rupert Everett as Tirador and Amy Manson as Lois, add layers to the story, though their characters are somewhat underdeveloped.

Colbert’s direction is atmospheric and evocative, with a keen eye for visual storytelling. The Scottish countryside serves as more than just a backdrop; it becomes a character in its own right, reflecting Veronica’s internal landscape. The use of dream sequences is ambitious, but the execution sometimes feels uneven, leaving the audience to piece together the narrative threads on their own.

The film’s pacing is another area where it struggles. While the slow burn builds tension effectively, there are moments where the narrative stalls, making it feel longer than its runtime. This is particularly evident in the dream sequences, which, while visually striking, sometimes detract from the emotional core of the story.

Despite these flaws, She Will offers a unique and thought-provoking exploration of trauma and empowerment. Colbert’s direction is promising, and Krige’s performance is a standout. The film’s blend of horror and drama is ambitious, even if it doesn’t always hit the mark. For audiences who enjoy psychological thrillers with a supernatural edge, She Will offers a haunting and thought-provoking experience.

Ultimately, She Will is a film that will resonate with those who appreciate complex narratives and strong performances. It’s not without its flaws, but it’s a bold debut that showcases Charlotte Colbert’s potential as a director.