SHE WILL (2021) Reviews of witch horror and release news

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‘Unleash the past’
She Will is a 2021 British horror film about a woman who undergoes surgery and discovers she can enact revenge as a result.

Directed by Charlotte Colbert – making her feature directorial debut – from a screenplay co-written with Kitty Percy. Produced by Wendy Griffin, Bob Last and Jessica Malik. Italian filmmaker Dario Argento is an executive producer.

After a double mastectomy, declining movie star Veronica Ghent (Alice Krige) goes to a healing retreat in rural Scotland with her young nurse Desi (Kota Eberhardt).

With her own identity in doubt, Veronica starts to confront past traumas she endured whilst on movie sets. The two women develop an unlikely bond as the mysterious natural force of the wilderness gives Veronica the power to enact revenge…

“Much of the film depends on Krige’s sheer presence – Colbert keeps her face and body centre screen, and as in much of her work from Ghost Story on (including an outing as the Borg Queen on Star Trek) she’s as often terrifying as she is beguiling.  In tiny roles, Amy Manson and Olwen Fouéré – who also have CVs studded with witchy work – are present as other possible witches of this region.” The Kim Newman Web Site

“Colbert and co-writer Kitty Percy give a script with a #MeToo bent a supernatural twist and lay it at the altar of Krige who does phenomenal work. There’s just no describing the contributions the actress makes to the success of this film, which is all-together handsomely made in production and sound as it is.” The MN Movie Man

“The screenplay, a 2018 Britlist winner, turns out to have a strong backbone, but it often seems secondary to Colbert’s thoughts on a range of subjects and ripe visuals. Sometimes it’s all expressed with witchy humour, and at others, with snapping imperiousness. It’s always a challenge to pin down the film’s interior logic amid such slippery sensuousness, but it does have one, and a strong point of view.” Screen Daily

She Will can be seen as slyly reclaiming the terminology and the mythology of witchcraft for the traumatized female survivors of male predation. But what is maybe most special — and most deliciously troubling to the bad men who thrive in an environment of competition and intergenerational incomprehension between women — is the deeply satisfying and moving portrait of female solidarity it paints.” Variety

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