Medusa Deluxe

The film, with its stunning long take, makes us feel as if we are walking alongside the characters, traversing various captivating settings and hypnotic scenes. Consequently, the beginning may appear bewildering and somewhat disorienting, as we adjust to the rapid influx of information: the breathtaking scenery, the characters' magnificent hair, their dialogues, understanding what is unfolding, among other aspects. Nevertheless, after this initial phase, we are thrust into the midst of a plot that consistently prompts us to question certainties, sow seeds of doubt, and introduce minor twists and turns. The film keeps us pondering all the time: "Where is this leading us?"

This sensation can also have a bittersweet taste, as some scenes appear shallow, lacking a proper conclusion. Regrettably, the conclusion of the story ends up being predictable and monotonous, which is disappointing. Furthermore, the decision to include a scene that seems to come out of a "scriptwriting manual," outside of the continuous shot, is debatable and should not have been included. This scene alters the perception of concepts that were subverted throughout the film, rendering them inconsistent with what had been built up until that point.

Murder at the hairdressing competition. It's like the title Agatha Cristie forgot to write. We don't get a Poirot however, just a bunch of unlikeable characters chattering away for 90 minutes. We don't get to meet the victim, he's already cold when the movie opens, nor do we geet to meet the detectives working the case. We"re stuck with the models and collegues of the victim. It's a directorial choice offcourse. Just as the fact that the whole movie is filmed (or appears to be filmed) in one take. Which means a director going on an egotrip and an audience that has to suffer through endless shots of people walking through corridors. As you can tell I wasn't particularly taken with Medusa Deluxe. When we finally get to know whodunnit I was long past caring.

No pun intended - especially because it is a guy who has been done. The movie does start with the announcement of a police investigation. A police investigation we won't see much of by the way. We will stay and stick with the hairdressers and everyone.

This is a whodunnit, but it also is a look behind the scenes. It is a sort of love letter to hairdressers. That being said, do not expect this to be pulling any ... punches. The very first characters we see talk ... let's call it freely. You may feel it is rough and there are some anger issues for sure ... but it is also fun to watch.

What is fun to watch to a degree is the one shot thing. I did not detect any easy swipe or any other camera movement that would make it easy to cut and edit. Good acting ... good little movie.

An ingenious comedy that imitates one-take productions, it is rather built on the basis of well-structured, assembled and recorded sequences that, in the style of Alfred Hitchcock's «Rope», resolve the transitions by means of dissolves and cuts between black shots and other resources. Unlike Hitchcockian drama, however, the camera is not static, but a mobile 'stylo' that enters dressing rooms, bathrooms, elevators, and a stage, and moves through stairs, corridors and gates.

As in «Rope», the plot revolves around the murder of a person (a hairdresser), whose scalp was torn off after being killed, in the middle of a celebration. Instead of a group of guests in an apartment, with the corpse cleverly hidden, here it is a center for events and shows in London, where a hairdressing contest is happening. So the form is the content and viceversa, they are two faces of the same complex portrait and complementary reflections on the modern lives of those who are usually out of frame in mainstream cinema.

The central cast looks like a postcard from Benetton with vibrant, vivacious and energetic actors of various ethnicities, made up of the fearsome hairdressers Cleve (Clare Perkins), Kendra (Harriet Webb) and Divine (Kayla Meikle) who compete for the grand prize, the promoter René (Darrell D'Silva), the Colombian hairdresser Angel (Luke Pasqualino), the models Angie (Lilit Lesser), Inez (Kae Alexander), Timba (Anita-Joy Uwajeh), and Etsy (Debris Stevenson), the security guards Gac (Hieder Ali) and Patricio (Nicholas Karimi), and the baby Pablo (twins Logan and James Porter). They all wait for the Police to arrive to question them about the murder of the fearsome Mosca (John Alan Roberts), but since the police arrive after the storm as the rainbow, we follow plenty scenes and dialogues of confrontation, persecution, violence, confessions, music and dancing.

Thomas Hardiman wrote and directed his first feature film and the result was this great film that makes us spend 101 minutes of fun, synergy and extravagance, without missing touching moments, guided by the admirable photography of Robbie Ryan and his operator Jake Whitehouse.

I randomly booked into see this film, knowing basically nothing about it apart from the two word synopsis "murder, hairdressing". Sign me up! It's got to be one of the most entertaining cinema experiences I've had in the last year.

Set backstage in a run-down events centre outside Preston bus-station, every character feels alive (a little stage-y perhaps). It's pretty funny, although it makes you wait for the darkest-of-dark humour to develop. The film is presented as a Children of Men-style real-time single shot and the camera's always following someone down a rabbit hole - it feels like there's always a lot more plot going on than perhaps there actually is. The whodunnit is not the most compelling thing about the film - it really nails it's atmosphere, characters, costumes and hair (naturally!)

It's beautifully filmed, soundtrack is great too - see it on the biggest screen you can find.