The Ugly Stepsister

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I truly loved how old-fashioned narratives and outdated clichés from the old Disney story have faded, and even disappeared.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.

In recent years, movies have really jumped on the trend of turning fairy tales into horror stories. Most of the time, the results are forgettable or just plain bad - you only have to think about those awful "Poohniverse" movies. But "The Ugly Stepsister" is different. It's not just a technically well-made slow-burn movie; it's also a disturbing look at beauty standards and being obsessed with the perfect body.

Unlike the kids' versions, this story focuses on Elvira, Cinderella's "ugly sister." We see everything from her point of view, and it really gets into the body horror. This character desperately wants to become beautiful to win over the prince. What I found interesting is that Elvira is far from ugly; she's actually a normal young woman. I'm not sure if this contradiction is a mistake or if it's meant to raise an uncomfortable question: how often do we feel bad about how we look even when there's nothing wrong with us? I think this invisible unease is what "The Ugly Stepsister" tries to explore over almost two hours.

The tension builds slowly and subtly. Even though the pace is relaxed, there's always something intriguing happening. While I appreciated this pacing, I felt like some moments could have been developed more, as some characters disappear from the story before making a real impact. I also expected a bit more from Elvira's journey, something closer to what we saw with Elizabeth/Sue in "The Substance."

In terms of horror, I didn't find it terrifying, but it still delivers some truly uncomfortable and unsuitable moments for sensitive viewers. There are graphic mutilations, needles going through eyelids, lots of bodily fluids, and in one of the final scenes, something so disgusting and bizarre that it will probably send many people running to the pharmacy for something to settle their stomachs.

There's also a significant amount of graphic nudity and adult content, making "The Ugly Stepsister" completely inappropriate for family viewing, so you've been warned.

I can say that I went into this dark tale with no expectations and quite liked what I saw, but it will probably end up near the bottom of my list of the best movies I've seen this year. I admit that I feel like something was missing. There are striking moments, careful directing, and a disturbing atmosphere, but it maybe lacked a more powerful climax, something that would really stick in my memory.

Still, "The Ugly Stepsister" is worth watching. It's a bold and unique take that turns a common story into a nightmare about insecurity, obsession, and transformation. I know it won't appeal to everyone, but I recommend it to those looking for more alternative and non-mainstream horror films.

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!!!!

It's about time we get to finally see a more nuanced perspective of the tale of Cinderella! What if Cinderella's stepsisters weren't villains, but victims of the same oppressive beauty standards?

Having premiered at the Sundance Film Festival, The Ugly Stepsister is a haunting and visceral reimagining of the classic Cinderella story, this time told through the eyes of one of the "ugly" stepsisters. In her feature film directorial debut, Emilie Blichfeldt, has crafted a disturbing film that is both unsettling and thought-provoking, offering a Gothic aesthetic that immerses viewers in a world that is more grounded in reality than fairy tales.

Filmed on location in Poland, The Ugly Stepsister portrays a kingdom that exists in a time and place we are familiar with only through our cultural knowledge of fairy tales: we all know this vague European setting that sort of existed a long time ago. Cinematographer Marcel Zyskindis has painted a rich atmosphere that feels both elegant and grotesque, reflecting the film's examination of the dark underside of beauty and the painful cost of perfection.

Lea Myren delivers a remarkable performance as the "ugly stepsister", transitioning seamlessly from a naive and awkward girl with romantic dreams of marrying the prince, into a figure both sympathetic and tragic. Her innocence and insecurities evolve as the film progresses and the brutal physical transformations take their toll. She begins to embody the vanity and desperation that come with striving for external validation. She is being "eaten alive" by her insecurities, but also literally through the presence of a tapeworm she's swallowed in order to lose weight. Growing within her, and grumbling throughout the film, it's a ticking time-bomb we know is going to detonate at some point.

The supporting cast also shines, particularly the actress playing Elvira's mother (Ane Dahl Torp), whose obsessive and abusive fixation on her daughter's appearance drives much of the narrative tension. I get the feeling she's trying to work through her own traumatic past. Elvira's stepsister Alma, takes a quieter but pivotal role that plays out beautifully at the end of the movie.

At its core, The Ugly Stepsister is a feminist exploration of beauty standards and the societal roles imposed on women. In a world where a woman's worth is intrinsically tied to her ability to marry well, the natural result is the climactic ball scene we are all so familiar with. Here, young women are paraded before the prince in a grotesque display reminiscent of a dog show. Elvira's mother even instructs her to keep her "paws up" to appear more obedient, reducing her to a spectacle for male approval. She has been trained and conditioned to respond in a way that has stripped her of her individuality. All the more tragic is the knowledge that all this pain and torture for perfection was for nothing when the Prince sets eyes on the mysterious "natural" beauty of Cinderella.

The film challenges the Cinderella myth by adding complexity to all its characters. Cinderella herself is entrapped within the same societal hierarchy. Her eventual pursuit of the prince carries a bittersweet reality, knowing that she cannot be with her true love, a stable boy. She is a victim in the same world of impossible expectations that defines Elvira's journey.

Director Emilie Blichfeldt originally wanted to title the film simply, The Stepsister but chose The Ugly Stepsister to force us to examine our reaction to that word. Elvira is never truly "ugly," yet her appearance is constantly compared to Cinderella's perfection, both by her mother and by society at large. The irony is that Elvira only begins to appear "ugly" after a relentless pursuit of beauty.

Body horror is back! In The Ugly Stepsister the effects are visceral and will make you wince more than once. (But don't expect The Substance levels of cartoonish gloopiness...this is much more grounded and restrained.) From the barbaric surgery with a chisel performed to reshape Elvira's nose to the agonizing sewing of false eyelashes directly into her eyelids, the film spares no detail in depicting the physical toll of chasing beauty. I enjoyed talking with Emilie Blichfeldt about her passion for body horror so it was so cool to see her homage to a surgery scene in David Cronenberg's Dead Ringers (1988), a classic in surgical body horror. The imagery is both grotesque and heartbreaking, showing how these barbaric procedures were considered acts of care and improvement in their time. The surgeon, who is both a tool of the mother's obsession and a product of societal norms, embodies the film's assertion that "beauty is pain."

I even noticed a couple of references to Disney's Cinderella including a cute moment Cinderella has with a mouse. And yes, of course Cinderella's missing shoe makes an appearance, but with a shocking twist that underscores the brutal lengths to which Elvira and her mother will go to secure their future. I heard quite a few gasps in the audience at what we were seeing on the screen. And how it went from "OMG I can't believe this is happening" to "Oh crap, I guess we're doing this now!" I loved it. The film's conclusion is both tragic and hopeful, tying together the arcs of all its central characters.

The Ugly Stepsister is a chilling, visually stunning exploration of beauty, worth, and the societal systems that shape women's lives. Emilie Blichfeldt masterfully blends Gothic aesthetics, body horror, humor, and social commentary to tell a story that is thought-provoking and uncomfortable to watch. Both a twisted fairy tale and a searing critique of societal norms, The Ugly Stepsister proves that even in a world obsessed with beauty, the ugliest truths often grumble just beneath the surface.

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.