Opiniones de usuarios

I have consistently held a profound admiration for ideas and concepts that appear straightforward at first, yet upon deeper investigation, uncover a fascinating and profound complexity. Similar to the themes and notions presented in this film, which impressed me with its visual artistry, although some scenes are daring, these are typical in Scandinavian films, so this detail shouldn't catch you off guard. Reimagining a timeless fairy tale like "Cinderella" from the point of the spiteful, unattractive stepsister is sheer brilliance and a remarkable masterpiece. This concept might appear straightforward to certain individuals, yet in truth, it is truly brilliant. In this case, "Agnes," or more accurately "Cinderella," is no longer the naive angel we recognize. She treats her stepsister (Elvira) quite harshly and delights in premarital relations with the stable boy, while presenting herself as a virgin to the prince soon after. In addition to the classic tales and long-standing stereotypes from traditional Disney stories, the stepsister is now depicted not as a haughty, wicked girl, but instead as a shy, uncertain girl, even about her own self.

This creative advancement, along with numerous others, certainly enhanced the film's artistic richness and set it apart from other popular films with similar narratives. Certainly, the originator of this nightmarish concept is the imaginative Norwegian author and filmmaker, Emilie Blichfeldt, who has presented us with a bleak portrayal of both beauty and ugliness. This image goes beyond being merely an amusing film, uplifting us as spectators, without resorting to a shallow narrative, a clichéd drama, or an ineffective comedy. The creative director delivered a stark, socially pertinent message, a grim and intense enhancement to the "body horror" genre, while also incorporating some subtle elements of dark humor effectively. I genuinely enjoyed the film, and when I selected it for my evening viewing, I didn't anticipate it would elevate my experience as much as it did in tandem with him during the viewing. I am familiar with Scandinavian cinema, recognizing its sophistication, and I'm also acutely aware of its remarkable boldness in explicit scenes. An outstanding movie in every aspect, including directing, performances, visuals, costumes, writing, and soundtrack. The music at the start of the movie amazed me, indicating that I was impressed early on, to such an extent that I watched the film again after it finished to hear it once more. - It's by the incredible Australian artist Molly Lewis, renowned for her whistling skills. She now lives in Los Angeles.

Hold on. Here's a point, At the film's outset, during the opening credits and theme music, the camera smoothly glides over the dinner table, paired with the captivating music. It moves over the deceased father's head on the table, as though he's lying there with his head on it, but his eyes are open, gazing at us.

This is "an artwork of supreme beauty and magnificence." Oh my goodness, what imagination! Alternatively, the movie is packed with various other delights. A fantastic movie with a superb mark.

An extremely enjoyable combination.

Seen this at the Berlin International Film Festival.

She was about to unleash the film on us, as the noticeably excited director finally exulted, having been brought on stage beforehand by the screenings moderator. The Cinderella tale was very close to her heart, and she almost spoiled the ending (more on that below). But first things first:

At the beginning, we still wonder, due to the emerging, subtly crude exaggeration, where this journey is headed... whether the film will find its tone. Yet another patchwork family coming together, a few centuries before today.

The penniless widow Rebekka moves with her daughters, Alma and Elvira, into the estate of a supposedly wealthy, older suitor, who has a pretty daughter named Agnes. Unfortunately, the hoped-for benefactor soon passes away. When it also turns out that this household has fallen on hard times as well, the newly widowed and aspiring social climber finds herself in a tough spot.

The prince of the county, meanwhile, is idolized by all the maidens for his poetry-and is soon to host a ball where he will choose his bride. A rivalry ignites between the initially haughty Agnes and the unconventionally attractive Elvira, spurred on by mother Rebekka, who puts every hockey mom to shame. After all, the pool of candidates is as large as in today's casting shows.

The audience may soon suspect: The daughter figures and the "evil" stepmother from the original Cinderella story seem here to serve merely as a foundation. For things appear to be taking a different turn, won't they? Who is the good one, who is the bad one-we recall the director's words: "The ugly stepdaughter, that was me." "There is only one Cinderella, we can't all be her."

Here, one feels pleasantly uncertain about how it will all end. It is crafty how Emilie Blichfeldt (both director and writer) blurs boundaries and plays with expectations, even as she does not shy away from clichés but rather embraces them in keeping with the genre.

The parallels to today, which Emilie Blichfeldt hints at, meaning that the whole thing can also be read as an analogy to current and burgeoning social dreams - are not as far-fetched as they may seem. After all, influencers, beauty ideals, body optimization trends, posing coaching, the excesses of cosmetic procedures, and (model) casting shows all promise dreams that rarely come true.

The drastic visual shock effects in "Den Stygge Stesøsteren" do not come across as mere sensationalism; instead, they powerfully illustrate the delusions of the characters: losing weight by ingesting a parasite, a nose job with hammer and chisel, self-mutilation... These scenes provoked intense reactions from the audience: vehement groans, followed by sudden bursts of laughter-even applause for individual scenes. Rare and strange.

And yet, it is simply faithful to the source: fairy tales have always drawn their effect from horrific deeds. The Grimm version of the story, as one can find, is by no means the only one. The Cinderella legend haunted Europe for centuries in countless variations before the Brothers Grimm-and later Ludwig Bechstein-shaped it into the form we remember today.

It is hard to imagine a better or more faithful adaptation of fairy tale motifs for a modern audience than what this film achieves-through adaptation, interpolation, and remixing.

I have deep respect for ideas and concepts like the ones featuring in "The Ugly Stepsister". The totally bonkers reimagining of a classic fairytale like "Cinderella", told mainly from the perspective of the hateful stepsister, is pure genius and utmost creative. In fact, I'm even slightly frustrated that I can never come up with simple but brilliant ideas like that! Who thought it up, then? Well, the Norwegian writer/director Emilie Blichfeldt did, and she created a lot more than just an entertaining slice of trash cinema... Blichfeldt made a harsh but socially relevant statement, a brutal upgrade of body-horror, and a hilarious black comedy. All in one.

It may not seem obvious, but "The Ugly Stepsister" has quite a lot in common with Coralie Fargeat's "The Substance"; which is hands down THE best horror movie of the 2020s. Both films were made by strong and professional women, and they both star anti-heroines doing everything - literally everything - to answer to the highest possible beauty standards. Both of the heroines also desire to look young/beautiful not for themselves, but to still matter in the society they are part of. And, of course, their desperate obsession with beauty has terrible consequences for both of them.

Let's not over-analyze, though, as "the Ugly Stepsister" is first and foremost a tremendously entertaining combo of genres. Blichfeld fluently blends period costume piece, comedy, horror, and even a little bit of drama. The carefree life of Rebekka and her daughters Elvira and Alma rudely comes to an end when her rich second husband literally drops dead on the diner table. Their only hope for wealth and luxury would be that Prince Charming chooses the oldest daughter Elvira as his bride, but there's one little problem. With her giant braces, crooked nose, excessively natural curves, and ring-curling hair, Elvira does not immediately meet the beauty standards. Will Rebekka succeed to make her own daughter prettier in time for the Royal Ball, AND to keep the amazingly beautiful daughter Agnes - a.k.a. Cinderella - locked away in the stables?

I truly loved how old-fashioned narratives and outdated clichés from the old Disney story have faded, and even disappeared. The stepsister is no longer an arrogant and evil wench but a very insecure and introverted girl. Cinderella, on the other hand, is not such an innocent angel anymore. She is quite rude to Elvira, and she likes premarital sex with the stable boy while she introduces herself as a virgin to the Prince a little while later. Fortunately, some fixed values from the (original) story are also retained. You won't see it in the Disney version, but here as well the stepdaughter cuts off her toes to fit the shoe. The film is of course far from perfect. Many parts of the script seem underdeveloped, which creates loose ends as well as a very large number of illogical situations and inexplicable plot twists. However, these are only details, because Blichfeldt has created a refreshing and solid long-feature debut film, and I hope to see more of her soon.

From the earliest retellings of the Cinderella myth-beginning with Charles Perrault's Cendrillon and the Brothers Grimm's Aschenputtel, and later immortalized by Disney's 1950 animated classic this timeless tale has undergone countless adaptations on both the page and the screen. More recent live-action versions, such as Ever After (1998) and Kenneth Branagh's Cinderella (2015), have further cemented the story's place in popular culture. In parallel with these traditional approaches, a new trend has emerged: alternative reinterpretations of classical works. Notable among these is Percival Everett's James, a daring reimagining of Mark Twain's Adventures of Huckleberry Finn, which challenges our expectations and invites fresh perspectives on well-worn narratives. The Ugly Stepsister follows this innovative path, reimagining the Cinderella story from a grotesque and an entirely subversive angle. In this twisted retelling, that recalls the visceral atmosphere of films like Perfume: The Story of a Murderer, rather than presenting a pristine, innocent Cinderella, director Emilie Blichfeldt introduces us to Elvira (Lea Myren), the so called "ugly" stepsister who despite the title is neither conventionally beautiful nor utterly hideous. This ambiguity makes the excruciating process of her transformation, aimed at impressing the ever elusive Prince Julian (Isac Calmroth), feel both ambiguous and absurd. We learn early on that financial desperation haunts her family: her stepfather's colossal debts, covered only temporarily by her mother's illfated financial gambles, have left the family on the brink of ruin, crippled and hungry for change. This bleak economic reality fuels the ruthless ambitions of her mercantile stepmother Rebekka (Ane Dahl Torp), whose single-minded drive is to turn Elvira into a paragon of beauty and a ticket to social ascendance.

From the very beginning, the film sets a tone of moral ambiguity. Unlike traditional Cinderella adaptations-where the fairy godmother and the magical pumpkin carriage provide effortless routes to transformation-The Ugly Stepsister opts for a far more disturbing and visceral approach. The film is replete with scenes that verge on full-blown body horror: grotesque surgical procedures and physiologically unsettling imagery underscore the brutal lengths to which Elvira must go in her quest in a fairy-tale kingdom where beauty is a brutal, cutthroat business, to impress Prince Julian (Isac Calmroth), being led by desperate desire for approval and success, presented in whitewashed dreams, so fake and unnatural, as the electronic accompaniment to them. Her transformation is not an innate gift but an arduous, painful process that calls into question the very nature of beauty and success. We see her diligently practicing her dancing and perfecting her embroidery, suggesting that her newfound allure is hard-won and paid for with her own pain, suffering and deteriorating health. This contrast not only deepens her character but also casts the traditional Cinderella figure in a more problematic light, who is not the dutiful, spotless heroine we've come to expect-she harbors resentment toward her stepmother, haughty, arrogant and contemptuous with Elvira. Her beauty is a mere privilege she was born in, as is her nobility. The film even introduces a slightly provocative side story involving a stable boy, which further muddies the moral waters and challenges our preconceived notions of the Cinderella myth. The final touch to her viciousness is being added by the sole macabric remnant of original story ball dressing magic. Well, it's probably natural for the fairies to have early development stages.

The younger stepsister Alma, portrayed by Flo Fagerli, is a breath of fresh air in this twisted tale. Adorable and unpretentious, she stands out as the only truly grounded character amid the film's chaotic transformations. With genuine empathy for her older sister and a healthy dose of rational skepticism, she offers a much-needed counterbalance to the story's surreal excesses.

The film's visual style is striking, with Marcel Zyskind's cinematography capturing the surreal, almost carnivalesque staging of these transformation sequences. The soundtrack, however, is a notable letdown. While it (intentionally or not) attempts to echo the pioneering spirit of electronic remakes of classical music-a realm in which Wendy Carlos famously set the benchmark decades ago-the repeated theme quickly becomes stale. Instead of adding depth or evolving with the narrative, the overuse of this motif undermines the film's atmosphere, leaving a sense of musical monotony that detracts from the overall experience.

Overall, The Ugly Stepsister is an audacious, if imperfect, cinematic experience. Its intriguing premise and subversive take on a wellworn fairy tale are commendable, even as its execution occasionally falters between highconcept ambition and uneven production quality. Despite these shortcomings the film manages to spark thought and discussion, leaving viewers to wonder whether its flaws stem from a conceptual deficit or simply from the challenging task of realizing such lofty aspirations on screen. Final point down, those who are fainthearted could safely limit themselves to reading the script.

While stories of this nature often carry a myriad of meanings and impacts dictated by audience interpretations, I like to perceive it primarily as a critique of the beauty and fashion industry.

That very industry driven by self-interest, promotes unrealistic beauty standards among impressionable young women, particularly teenagers, and encourages gullible women to purchase costly products to be "attractive" so to speak or, more alarmingly, drive them to resort to unhealthy and dangerous methods for altering their faces and bodily structure.

The narrative also serves as a commentary on those parents who exploit their children's fame and financial success, steering them toward a path of self-destruction in pursuit of their own unattained and selfish interests.

A twisted fairy tale where wanting to be beautiful causes the lead protagonist all types of pain. Elvira has lost all her marbles as she competes with her beautiful stepsister Agnes, and she will go to any length to catch the prince's eye. Good acting, and the movie kept me intrigued. The Director Emilie Blichfeldt kept the moving going, and the lead actress who played Elvira Lea Myren did an outstanding job. A Norweigan film, that I would definitely watch again. I felt Elviras pain, but greed, insecurity, and a mother's love got in the way. The comedy aspect had me laughing as well, I'll give it a 7 out of a 10.

The Ugly Stepsister is A dark, twisted re telling of the Cinderella story..... with A LOT of added gore.

The film tells the story of Elvira, who is essentailly, the Ugly Stepsister of the classic fairytale, the movie ios from her point of view.

The movie opens with Elvira her mum and younger sister moving in with another family (just the dad and the 'pretty daughter')

Some stuff happens, there's financial worries and.... news comes that the Prince will be having a ball and there he will chose his bride... so every young girl in the area sets off on a mission to... be the lucky lady.

So it is the classic fairytale ...to an extent.

Both Elvira and her Stepsister are after the Princes 'love' (in fact the movie opens with Elvira reading the princes published poems, and she has regular daydream fanatasies about being swept of her feet by him)

But the movie is really about the lengths that Elvira (and her mum) will go to, in order to become 'beautiful' and therefore worthy of the Prince

Thats more or less the plot

The early hype around this has been focusing on the gore element... And while it is VERY gorey at times... I think focusing on that does the film a bit of a disservice....

Yes... Its gorey, but it's much more internal and more of a psychological horror....(in a good way)

(Actress) in the lead role is BRILLIANT. You can see the struggles shes goin through internally on her face.... Its s brilliant, genre topping performance.

The supporting cast, specifically the mum, are also top tier.

I'm going to assume it was a low budget... But it didn't look or FEEL low budget.

The period costumes look great, the makeup snd physical effects dont look cheap....

The Cinematography (especially the fantasy sequences) and more specifically the sound design, it doesn't look OR sound lime a cheap movie.

So it seems they've spent their money wisely.

Score has stranger things vibes, interesting juxtaposition to the period drama setting

Then there's almost a spaghetti western vibe to the score... so, when it works, it works really well, but it did feel a little disjointed at times

It's written and directed by a woman, and I think that's partly what gives this such a unique feel at times. There's elements to the movie about the female gaze, that, lets face it, would probably have been handled differently if directed by a man

The pressure, young women in particular are put under to look a certain way...

The methods used in the movie might be more barbaric than today's.... But the underlying societal issue is the same.

The moral, the theme... while at times can feel a little on the nose (pun intended) is still, sadly relevant in today's society.

There's a line in the movie that stuck out to me "you're changing the outside to fit what you know is on the inside... Its what's inside that counts"

In an effort to make herself beautiful on the outside she becomes ugly on the inside.... (then ugly on the outside)

Now, even though I've kinda down played the goriness.... Its definitely an 18 rated movie

But none of the sex, nudity or violence feels gratuitous.... It all serves the story and the characters, it's not gore for the sake of gore (lookin at you Terrifier!)

Oh, and there is a an ed credits scene so stick around for that

7/10 for the ugly step sister.

I was very pleasenlty surprised by this. I went in expecting a fairly mindless gore fest, what i got was a well thought out, well paced psychological body horror (with a fair amount of gore) that Cronenberg fans would be proud of.

Would make a good double bill with THE SUBSTANCE

Thanks to shudder and strike media for giving me an early look at this, it's in select uk cinemas as of April 25th and I believe it's already in US cinemas.

Thats us folks, I'll catch you ijnthe next video

✌🏻

The movie looks beautiful! Actresses are all amazing, especially both sisters and step-mother. I think Agnes (Cinderella) was presented as a bit bland on purpose, because the whole movie was from the perspective of one of the "ugly" sisters. The movie is very close to dark comedy, with body horror elements and twist on an original, also dark, Cinderella story.

I love that nothing is presented as we would expect. "Ugly" sisters are not ugly or evil, especially younger sister who is very sweet and actually quite beautiful but presented as really too young for the Prince.

Prince is also not presented as nice royal and good-mannered person like in story, as you can see in the movie, it's a rather surprising and possibly more realistic view on young, very rich and very spoiled king's son.

Cinderella is barely on screen. Viewers still root for her because she did nothing wrong, but I love the additional little twist on her character too. Those who saw the movie will know. She is not naive little girl either.

Stepmom is not inherently evil, as presented in cartoon, she is just not-so-smart, greedy woman, who likes money and who saw her chance to get it in her older daughter. Another rather realistic presentation instead of "pure evil stepmother" stereotype in fairytales.

Now, actress who plays Elvira is amazing! She is joy to watch, she absolutely the center of the movie and we see pretty much everything from her perspective.

Alma, younger sister, is presented as sweet and smart child with a lot of compassion and love for Elvira which I love!

On the darker side, there is a lot of gore in getting Elvira to the beauty standard she craved so much. I admit a lot of scenes I had difficulties to watch. So, be prepared for Cinderella, body horror + dark comedy, from perspective of one of the "ugly" (none of them are ugly, hence quotes) sisters.

A twisted take on Cinderella, The Ugly Stepsister is a Norwegian body horror flick that will creep you out through it's take on beauty standards and the level of extremity one can go to fit well.

The director, Emilie Blichfeldt did the same with 'The Ugly Stepsister' this year, with what was done in 2024 by Coralie Fargeat with 'The Substance', by showcasing the lengths one go to stay relevant. While it is far from perfect and the characters don't stand out much, apart from the lead; The Ugly Stepsister has abundant gore, amazing BGM and splendid performance by Lea Myren as Elvira that elevates the movie.

The director doesn't even hold back on frontal nudity of the characters in couple of scenes, and the third act of this body horror is equally disgusting to watch as well as emotionally draining; but for the advanced horror fans, this might be a treat.

My Rating : 3.5/5.

I knew about "The Ugly Stepsister for a while and I couldn't wait til it got released! Due to its very limited release I got the digital pre ordered months ago! My goodness what an INCREDIBLE film this is! The ugly stepsister is the perfect representation of a take on the beloved classic Cinderella a true take on the grim brothers story so dark and VERY ADULT! It focuses on one of the step sisters of Cinderella that we know, but with different names and it's just unbelievable how this director did such a great job! Constructing such a perfectly paced period piece, drama/dark comedy with Body Horror! The acting and production to costume designs and cinematography/ color palette is just beautiful! The ugly stepsister I highly recommend for people who love Cinderella and want a real true horror, film version and viewers Beware only for 17 and up. Bravo to everyone! Such a HUGE surprise and refreshing!!!!

After hearing that this movie received generally positive feedback, I was certainly interested to see what The Ugly Stepsister was capable of. On the other hand, I was somewhat cautious because it's a unique foreign film with strong dramatic elements, and those often aren't quite my cup of tea and tend to be overhyped. It offers a twisted perspective on the tale of Cinderella, with a haunting story about oppressive beauty standards and how they can destroy those affected.

First of all, the movie is very well acted and visually stunning. Everyone involved did a great job bringing the characters to life and integrating the sets seamlessly into the screenplay. Especially the lead, Lea Myren, was very convincing in her role, and I really enjoyed her presence on screen. Many of the supporting characters were also well-acted and well-written.

The movie has a slow pace, which made it feel even longer than its 109-minute runtime. The effects are stellar, and there are quite a few stomach-turning scenes involving some pretty gnarly body horror. I've heard some comparisons to The Substance, and while the two films explore similar themes, I don't think the comparison does either movie justice, as they are vastly different. The Ugly Stepsister doesn't spiral out of control in the same way and isn't packed with symbolism in every scene. That said, it definitely has its own themes and messages, but they're not overly obvious or forced.

The film is raw and intense in many moments, whether it's through nudity, gore, or mental decline. Despite all these strengths, I have to admit that I didn't enjoy it as much as many other viewers. As I mentioned, slow-burn dramas generally don't appeal to me, and in this case, I found myself almost bored at times. Between the gory scenes and harsh character dialogues, there were too many filler scenes where I caught myself checking my watch which is never a good sign. The film wasn't quite able to fully immerse me in its story.

In my opinion, The Ugly Stepsister is experiencing a bit of overhype, which may have raised my expectations too high and affected my experience. Still, it's a fairly decent film with solid production value and strong performances, and I can absolutely see why others might enjoy it more than I did. [5.4/10]

This horror take on Cinderella isn't the most grand horror film I have seen but it's gore levels, atmosphere and strong lead performance does offer an interesting observation of beauty and the tale of Cinderella.

Emilie Blichfeldt slow-burn approach of beauty and pain offers some solid direction regarding the atmosphere and tone. Alongside with the costumes and camerawork fitting the time period and atmosphere it desires. I do enjoy the approach Blichfeldt was going for as the vibe and gore and practical effects are quite outstanding. The performance from Lea Myren was really good alongside with the rest of the cast members.

The writing follows some new concepts about the tale of Cinderella. Despite I do really like some of the unique takes, the uneven pacing and certain concepts feeling dry didn't work out the execution as it hoped for. There are certain choices where I understand what Blichfeldt is wanting to do but at times, it felt like if they are too similar to other filmmakers and didn't blend well with the story. Alongside with the characters being, at times, kind of unlikable to the point it made it a bit difficult to care for them.

But what makes the movie worth is it's atmosphere, gory concepts and unique approach. Still recommend.

The Ugly Stepsister is being compared to The Substance, and yes, they share similar ideas of bodily mutilation, the "ideal" perception of beauty, and female led performances. However, comparing the two just because of that feels like comparing E. T. and Alien because they are both movies with aliens. TUS is unique enough to deserve it's own breath in a conversation about body horror. When I first heard of the film, I thought the description of a body horror version of Cinderella was metaphorical, but it is actually an adaptation of the Brothers Grimm fairytale. A whimsical score of flutes, harp, and synth pepper an absolutely stunning period piece with remarkable costume and sets. The Europeans don't shy away from sexuality and nudity, so be prepared for that, but it's tasteful and deliberate. I found it easy to root for the main character Elvira, begging her to not lose her identity while those around her force Elvira to change every aspect of herself. It's a great tale of "love makes you do crazy things" and has a few moments of grotesquerie. The film is on the edge of being a classic, but just needed a few more sickening moments to truly earn that distinction.

I struggle to understand the message this movie attempts to convey to its audience. Throughout the film, we only witness a girl's self-destructive journey. The primary issue lies with Stepsister Elvira, who not only lacks self-esteem and confidence but is also dim-witted and superficial. She harms her body through unhealthy practices and operations for the sake of a shallow and spoiled young prince who associates with two sexist friends, whose maturity level resembles that of a 15-year-old horny male adolescent.

Cinderella, typically portrayed as a pure character in the original fairy tale, is depicted in this film as a bland and vain girl who engages in doggy-style sex acts with a stable boy in a hay barn yet presents herself to the prince as a virgin and virtuous young woman at the ballroom. She portrayed a somewhat materialistic character, as she fell in love with a poor stable boy but ultimately told him that she had to marry the prince for his status and wealth. She also confessed to her stepsister that her deceased father only married her mother because they assumed Elvira's mother had money.

The stepmother is another unlikable character; she is vain, greedy, shallow, and deeply flawed. She pressures her older daughter to conform to ridiculous beauty standards, hoping to sell her off to a prince or another wealthy aristocrat to escape poverty and debt in an easy way, and when her older daughter fails in this mission, she seduces and blows a young aristocrat's penis.

The only character who makes sense in this movie is little stepsister Alma. She is intelligent, sweet and resourceful, ultimately helping her older sister avoid further self-harm, and together they escape their selfish mother.

Overall, this film offers a twisted take on a classic fairy tale, but I believe it fails to deliver a meaningful feminist message that aligns with contemporary societal discourse and perspectives.

Every single time I see that a celebrity has had her (sometimes his) face change in order to look younger and thinner, I sigh and despair and think WHY? You were beautiful before, there's no need to change.

This film takes that message to its goriest and most disgusting levels I've seen in a long time.

This is a horror retelling of the classic Cinderella story. Only Cinderella is not the main character, but it is told from the perspective of one of her "ugly" stepsisters, Elvira.

Agnes, AKA Cinderella, is a naturally gorgeous and rebellious girl who is destined to catch the eye of the prince. Her stepmother, Rebecca, wants Elvira to catch the prince's attention, since she dislikes Agnes and Elvira's sister Alma, is too young to wed.

In order to make her pretty, her mother Rebekka pays for her to have her braces removed, her eyelashes enlarged and a nose job.

Only... this is unfortunately not set in modern day. And the beauty procedures are shockingly and violently brutal. And Elvira goes one over to add another painful procedure in order to lose weight. And it is FOUL.

I really liked the differences between the three sisters. Alma is young, innocent and frightened at the prospect of womanhood. Agnes is a free spirited young woman who is punished by the rest of her family. While Elvira does everything in her power to appear pretty to please her nasty mother.

While The Substance by Coralie Fargeat deals with the fear of getting old, imperfections within the body and an entertainment industry obsessed with beauty standards, this film leans more into trying to please toxic parents who don't care about the well-being of their children, and only care about their own money and reputation. There are a lot of parallels with mothers nowadays who groom their children into being the people that they wished they could be. Whether through dance, entertainment or singers.

Probably not as wild as The Substance, but definitely more gross and squeamish.

Sometimes you just need to break out of the usual - that's exactly what we decided when we planned a movie night and picked The Ugly Stepsister. We'd been watching way too many normal movies lately, so this weird little gem popped up in our recommendations and we figured, "Why not dive into horror for once?" And wow... what a ride.

It's a Cinderella story - but not the one you grew up with. This version flips everything on its head and shows things from a darker, bloodier perspective. For some of us, it even ruined the original fairytale a bit (sorry Disney), but honestly, that's part of what made it so fun. The creativity behind it was wild.

Winny appreciated that it wasn't in English - finally, a foreign-language film retelling a classic fairytale for adults, and doing it justice. Willow was all in for the body horror (he lives for that twisted stuff), and he was curious from the start to see what happens when innocence meets horror. Mimikyu adored the dances, the acting, and the lead character, even though she had to hide behind her hands once things got really dark. Amy and Tails were both totally hooked despite never having seen the original Cinderella - watching it with friends made it even better. And Sweet? He couldn't stop talking about how gross and unappetizing they managed to make the food look - which he loved, weirdly.

Also, the gore? Brutally brilliant. Eyelid sewing? Chopped toes like carrots? Had us all in stitches. There's even that perfect blend of male and female gaze moments, without being awkward - bold shots, symbolic visuals (yes, including that now-iconic phallic one), and some weirdly artistic moments involving... yeah, we'll let you find that out.

Throw in the stunning costumes, some fan-worthy accessories (someone couldn't stop gushing over the harp scene), and a soundtrack that fits the unsettling tone perfectly, and you've got a film that's as stylish as it is disturbing.

Definitely not your average fairytale. 8/10 from all of us - disturbing, weirdly beautiful, and totally unforgettable.

Sumptuous and biting, a very interesting comic-violent interpretation of a fantasy classic that adds contagious insanity and obsessive determination to the expected charm and fabulousness.

Despite the charm and the clear creative inversion of perspective of the Cinderella tale and intelligent points about sex and the pitfalls of beauty, Emilie destroys much of the spark of her story when she underestimates the viewer and calls Agnes by name.

This break in a narrative so rich in nuances and smooth, like the silk of the dresses on screen, is disappointing and ends up damaging the whole sense of dynamics of the story that, despite this slip-up, maintains a high note. It's a shame that this one slip-up is almost fatal to all the pleasure of the story's climax.

Fantastic music work by John Erik Kaada and Vilde Tuv.

The art department of this film does its part; visually, The Ugly Stepsister is a delight and Manon Rasmussen delivers a charming costume design. Whether it's the gorgeous gowns and the enchanting exploration of the value of color as a period luxury, or the iconography of this beautiful blend of fantasy and centuries-old tales.

Whether it's Elvira's turquoise gown, the matriarch's vampiric aesthetic, or the sparkle of fantasy in a sea of mourning in Agnes and the decadence of nobility that hides in luxury, Manon Rasmussen and his team embrace the fantastic and deliver a memorable period look.

Looking forward to Emilie's next work.

What perfect movie ... An exact image of what's happening right now in our society.... Storms of beauty definition mostly through Hollywood has brought a fake standard for what a perfect man or woman should be and should like caused thousands of young men and women goes through a lots of unnecessary pain to fit themselves by that fake standard.

So many fake videos in social medias which most of them has been created after so many filters caused our mindset to be change by their standard.

As we saw in movie the fake standard bring the pain to young sensitive girls who's dream is getting married with whit horse prince. She made herself in such misery's only to fit to a even a fake prince who is not even noble.

The prince and Cinderella are both dirty and guilty and they are not ashamed of what they are and truly they deserve each other.

But how far we are gonna move to get a prince is a good question that everyone must ask .

I suggest to everyone watch the movie and just get the message of what is gonna says to you .

On a friend's recommendation, I watched The Ugly Stepsister-it didn't have an English audio track, so I ended up watching it in Norwegian audio with English subtitles. Honestly, that made the experience feel even more raw and unsettling.

This isn't the Cinderella story we grew up with. Here, Cinderella isn't the focus-Elvira, the so-called "ugly" stepsister, takes center stage in a nightmarish twist on the classic tale. The movie cleverly explores the disturbing difference between beautiful and more beautiful, making us question what we value in appearances.

Some scenes will make your skin crawl. The visual design is eerie yet artistic, and Lea Myren's performance as Elvira is unforgettable-vulnerable, physical, and intense.

After The Substance last year, this is 2025's standout body horror film for me.

Den stygge stesøsteren is a bold, unsettling reimagining of the Cinderella myth, trading glass slippers for scalpels and fairy godmothers for sadistic surgeons. The film's atmosphere is immediately oppressive, immersing viewers in a world where beauty is not only currency but a matter of survival. Blichfeldt conjures a fairy-tale kingdom that feels both lavish and claustrophobic, every ornate ballroom and candlelit corridor tinged with menace. The cinematography is one of the film's strongest assets: lush, painterly compositions contrast sharply with the clinical brutality of the body horror sequences. The camera lingers on both the grotesque and the beautiful, making the viewer complicit in the kingdom's obsession with perfection. Costume design and set decoration are equally meticulous, evoking a period drama that's been dragged through the mud and left to fester, all while maintaining a certain twisted elegance.

Lea Myren delivers a standout performance as Elvira, the so-called ugly stepsister. She brings a raw vulnerability to the role, making Elvira's desperation and pain feel painfully authentic. Myren's physical transformation throughout the film is striking, but it's her emotional arc, from awkward, eager-to-please daughter to someone willing to mutilate herself for a shot at happiness, that truly anchors the story. Ane Dahl Torp, as the ruthless stepmother Rebekka, is deliciously icy, while Thea Sofie Loch Næss's Agnes (the Cinderella figure) subverts expectations with a performance that is more haughty and privileged than innocent or kind. The supporting cast is solid, though some characters, like the other stepsister, fade into the background and could have used more screen time.

The film's commitment to body horror is both its calling card and its Achilles heel. While the practical effects are impressively visceral-scenes involving surgery and grotesque beauty rituals are genuinely hard to watch-the relentless focus on shock value occasionally overshadows the film's more nuanced social commentary. At times, the narrative loses momentum, lingering too long on the grotesque at the expense of character development and pacing. Still, Blichfeldt's direction is confident, and her willingness to push boundaries marks her as a filmmaker to watch, even if the film's ambition sometimes outpaces its execution.

Den stygge stesøsteren is a fierce, visually arresting, and often uncomfortable experience. It's not the kind of film you'll want to revisit in a hurry, but its disturbing imagery and subversive take on a familiar story are hard to shake. If you have a strong stomach and an appetite for fairy tales turned inside out, this is a memorable addition to the genre.