In 1596, painter Michelangelo Merisi de Caravaggio was commissioned by diplomat Francesco Maria del Monte to paint a gift for the Grand Duke of Tuscany. It was to be a decorative shield that commemorated the Grand Duke’s achievements in battle. Caravaggio’s final product would become the iconic painting entitled “Medusa,” depicting the Greek gorgon’s decapitated head permanently stuck in an unheard shriek.

It is this shriek that hangs over director Anita Rocha da Silveira’s sophomore feature of the same name. While not entirely obvious at first, Medusa takes place in a heightened Brazil, where Evangelicalism reigns supreme and those who do not adhere strictly to God’s Word are met with violence. This is especially true for women, which is why church band Michele and the Treasures of the Lord have decided to take matters into their own hands. As a member of the group, young nurse Mariana (Mari Oliveira) stalks the streets of their unnamed city and helps attack women she deems impure. Their idolization of an unknown woman who burned another for being promiscuous becomes an obsession for Mari that quickly spirals out of control.

In an interview with Variety upon the film’s world premiere at the Cannes Film Festival, da Silveria cited Italian horror director Dario Argento as the film’s biggest influence. This should come as no surprise as the film is certainly not afraid to use color even in its deeply unsettling moments. Cinematographer João Atala and colorist Cassiana Umetsu construct some incredible shots of a world that tries to be as positive and colorful as possible, yet hides its societal darkness. However, it wouldn’t be a stretch to say that the director also took cues from David Lynch, as well. Almost everything in this world is too perfect, too picture-esque that it is inevitable that something more sinister boils below.

This sinister nature is made more believable by the talented cast assembled, particularly Oliveira. The Treasures of the Lord are prime Stepford Wife material that gradually begin to see their world as it truly is. Oliveira kickstarts this with her fantastic performance as a young woman who thinks she’s going mad but is actually being set free. Lara Tremouroux also stands out as the gang’s frontwoman Michele, an influencer whose hyperfeminine persona fails to mask her actual secrets and romantic desires. 

Medusa’s main issue is its length, which clocks in at just over two hours. While most of the film’s plot points end up being resolved, there are others that seemingly drop off out of nowhere. It might make you wonder why the setup was included in the first place. If these mundane plot points were taken out, the film could be much more cohesive. That being said, da Silveria did draw inspiration from two directors whose works famously do the same. 

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Erin Brady

Erin has loved the bizarre and macabre since she was a child. This early fascination has led her to become a film and culture writer whose works on horror have been featured in Collider, Fangoria, and Little White Lies among others. When not watching movies and writing about them, she can be found writing short stories or re-watching Death Note for the millionth time.

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Tags: Anita Rocha da Silveira, Brazil, Bruna G, Bruna Linzmeyer, Cassiana Umetsu, Felipe Frazão, Joana Medeiros, João Atala, Lara Tremouroux, Mari Oliveira, Marilia Moraes, Thiago Fragoso, Toronto International Film Festival