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This review may contain spoilers
When women are once again cast as villains.
This is a story of villainesses, reflecting a reality where society is ever-ready to paint women as the antagonists.
The film’s plot isn’t overly complex, but its psychological weight is undeniable, brimming with intensity and sharp satire. It centers on a woman deemed ugly by society’s gaze, ostracized even by other women who see her as an "outsider," a villain who defies their preconceived norms. A death unveils the grotesque schemes of an individual—or perhaps the rotten foundations of society itself—stemming from a woman condemned in the court of public opinion, judged by strangers who’ve never seen her face. Women are expected to embody virtue, grace, eloquence, and propriety, and any woman who falls outside these societal standards is branded a villainess—a demon. Her femininity is rejected, and society increasingly views the expression of womanhood as something repulsive, promiscuous, or sinful. Tragically, even those who don’t stand in the courtroom, who don’t wield the knife that takes a life, are complicit. They are perpetrators through their ignorance, naivety, and susceptibility to the manipulations of those truly pulling the strings behind the scenes. They are both culprits and victims—victims of manipulation, control, and even love.
The film’s protagonist, driven by subjective emotions, ingrained biases about women and societal norms, and her own experience of love, destroys her family and, ultimately, herself. In doing so, she transforms into a true villainess. To say that women are often scapegoated as villains doesn’t mean men are always the perpetrators. Beyond gender, this is about society, prejudice, and public opinion—and the film seems to echo this. Without the one-sided biases that fuel these narratives, could the puppet masters behind the scenes have succeeded in their schemes? Betrayal doesn’t only wound those who are unloved; it also scars the betrayers themselves, who forsake a piece of their conscience (if they have any left at all).
Ultimately, the film is far from difficult to watch. Everything has its own story, though the pacing feels slightly off, and the characters lack depth. The film doesn’t quite break new ground, and it doesn’t demand intense focus—sometimes to its detriment. Still, the ending delivers a satisfying punch, leaving a lasting impression.
The film’s plot isn’t overly complex, but its psychological weight is undeniable, brimming with intensity and sharp satire. It centers on a woman deemed ugly by society’s gaze, ostracized even by other women who see her as an "outsider," a villain who defies their preconceived norms. A death unveils the grotesque schemes of an individual—or perhaps the rotten foundations of society itself—stemming from a woman condemned in the court of public opinion, judged by strangers who’ve never seen her face. Women are expected to embody virtue, grace, eloquence, and propriety, and any woman who falls outside these societal standards is branded a villainess—a demon. Her femininity is rejected, and society increasingly views the expression of womanhood as something repulsive, promiscuous, or sinful. Tragically, even those who don’t stand in the courtroom, who don’t wield the knife that takes a life, are complicit. They are perpetrators through their ignorance, naivety, and susceptibility to the manipulations of those truly pulling the strings behind the scenes. They are both culprits and victims—victims of manipulation, control, and even love.
The film’s protagonist, driven by subjective emotions, ingrained biases about women and societal norms, and her own experience of love, destroys her family and, ultimately, herself. In doing so, she transforms into a true villainess. To say that women are often scapegoated as villains doesn’t mean men are always the perpetrators. Beyond gender, this is about society, prejudice, and public opinion—and the film seems to echo this. Without the one-sided biases that fuel these narratives, could the puppet masters behind the scenes have succeeded in their schemes? Betrayal doesn’t only wound those who are unloved; it also scars the betrayers themselves, who forsake a piece of their conscience (if they have any left at all).
Ultimately, the film is far from difficult to watch. Everything has its own story, though the pacing feels slightly off, and the characters lack depth. The film doesn’t quite break new ground, and it doesn’t demand intense focus—sometimes to its detriment. Still, the ending delivers a satisfying punch, leaving a lasting impression.
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