The Woman

2011
Dir. Lucky McKee

Social satire or torture-porn movie? Misogynistic trash or an examination of fundamentalist attitudes towards women? Feminist wish-fulfilment or objectifying glorification of violence? These are the kinds of questions that are being asked about The Woman and its gruelling rape-revenge story. Whether the film is viewed as a powerful portrait of misogyny, a thoughtful 'torture-porn' flick or simply a brutal and nasty gore-fest - The Woman proves to be an uncompromising and memorable ordeal. More a film to be endured than enjoyed, it has left audiences and critics divided and immersed in deep debate. Some critics have suggested that rape-revenge narratives can subvert traditional power dynamics, ultimately empowering the victim. Others have said films like The Woman or I Spit on Your Grave can't possibly be regarded as feminist works because rape-revenge films are inherently misogynistic, produced solely to depict violence against women. Viewers have been left shocked, angry and outraged as The Woman has blazed through film festivals. Interestingly, apathy wasn’t something experienced by most viewers – The Woman demands that you have a strong opinion one way or the other. 

The Woman is indeed shocking, brutal and stressful, and it is also gripping and well directed. It explores themes regarding gender based violence, domestic abuse and contemporary morality with unwavering intensity. There is very little nuance - everything is loud, black and white, and incredibly visceral.

Based on a screenplay by Lucky McKee and horror writer Jack Ketchum, The Woman works both as a stand-alone film and a sequel to the pair’s previous backwoods shocker The Offspring. It follows lawyer Chris Cleek’s (Sean Bridgers) discovery and abuse of a feral woman (Pollyanna McIntosh) - the last remaining member of a cannibalistic tribe - he encounters in the forest and subsequently abducts and chains up in his cellar in order to 'civilise' her. He forces his submissive, terrified family to partake in his moral crusade. The Woman leads viewers along a shocking and emotionally draining trail, twisting and turning but always leading unavoidably to that haunting and unforgettable climax. From the outset, it is one of those films in which everything indicates it won’t end well.

It serves as a blunt exploration of the violence men inflict upon women, and the atrocious things society does, or turns a blind eye to, in the name of Christian morality. It takes barbed jabs at patriarchal, conservative family values, revealing them to be inherently corrupt and hypocritical. Its depiction of domestic abuse is unflinching and overwhelming in its matter of fact and abrupt execution. Even though the sporadic bloodletting is alarming in its intensity, it is actually the psychological horror and quiet degradation of the family unit that packs the weightiest punch. The female characters all live in terror of Chris. Tension comes from his unreasonable nature, his unwavering brutality and tyranny. He has no redeeming qualities – he has no moral grey area or ambiguity – he is presented as a clean-cut monster we’re actively encouraged to despise. He views his actions as morally righteous, and simply sees women as weak and deserving of violence. Add to this the deliberate, slow-burn approach McKee takes and you’ll get some idea of the stifling tension the film exudes.

One of the most disturbing aspects of the story is how Chris’s son begins to exhibit signs of following in his father’s footsteps, and is actively encouraged by Chris to do so. When Belle (Angela Bettis) attempts to reprimand their son for sexually assaulting the woman, Chris beats her unconscious and props her up at the kitchen table for daring to question his actions, basically saying there was “no harm done.” It is in these moments, when the casual misogyny of the father is absorbed by the son, where the film's message is most powerfully conveyed.  

The performances hold the increasingly extreme story together and all are highly effective. Pollyanna McIntosh is incredibly compelling as the titular character. Equal parts threatening and vulnerable, the wash of emotions exhibited by her is startling; everything is conveyed through her eyes and body language. It's an immensely powerful performance. Elsewhere Angela Bettis provides an equally powerful performance, though in a much more restrained way, as the downtrodden, soul-broken Belle. The fear and powerlessness she feels as she watches her family be psychologically and physically abused consistently simmers behind her watery eyes. We root for her as much as the woman chained up in the basement; while they are both trapped, it is in very different ways. We root for Belle to make a stand, defend herself and her daughter, to run away and escape this hell, but having seen what happens when she goes against Chris's wishes, we know she won't. She can't. The control he has over her is too powerful, too brutal. The film's depiction of the very real horror of domestic and spousal abuse is one of its most unsettling aspects.  

The Woman is a disturbing and commanding film with an agonisingly taut build up towards an excruciating, blood-soaked climax. 

The Woman (cert. 18) will be available to buy on DVD and Blu-ray from 17th October 2011 courtesy of Revolver Entertainment.

Special features include: The Making of ‘The Woman’, Deleted Scenes, Short Film – ‘Mi Burro’, Meet The Makers, Music track ‘Distracted’ by Sean Spillane and 5 Exclusive Limited Edition Art Cards (HMV only).

The UK Blu-ray release also features an exclusive extra 'The Film4 FrightFest Total Film' panel with Lucky McKee, Andrew van den Houten, Adam Green, Joe Lynch, Ti West and Larry Fessenden.