‘The Ugly Stepsister’ Remixes Cinderella With Nauseating Body Horror for a Biting Commentary on Beauty Standards — Sundance

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It all started with Norwegian filmmaker Emilie Blichfeldt envisioning a bloody shoe.

She explains that her short films feature women dealing with body image issues. During the creative phase of one such film, an idea sprang to mind – a twist on the Brothers Grimm’s Cinderella tale. In this version, the character believes she fits the glass slipper, but upon closer inspection, finds it filled with blood. It turns out that she had severed her own toes in order to squeeze into the shoe.

Blichfeldt’s dark reinterpretation of the traditional fairytale, titled “The Ugly Stepsister,” will make its premiere at Sundance on Thursday, broadcasted by Shudder. In this film, written and directed by Blichfeldt, the focus is shifted from Cinderella to her often-overlooked stepsisters. The main character, Elvira (played by Lea Myren), undergoes various gruesome procedures in an attempt to acquire the beauty she thinks is necessary to marry Prince Julian (portrayed by Isac Calmroth). These include swallowing a tapeworm, implanting eyelashes, and enduring a brutal nose job.

Blichfeldt says she quickly felt empathy for the previously one-dimensional Elvira.

She admits that until now, she had never resonated with this character. As a child, she found them repulsive and identified more with Cinderella, wishing to be in her shoes. But suddenly, it struck her: she’s spent much of her life trying to squeeze into ill-fitting roles, dealing with self-image issues and yearning to meet societal beauty standards. Upon rediscovering this character as an adult, the realization was powerful because she saw herself reflected in them. She continues to be passionate about portraying diverse women on screen, echoing the raw emotion of living as a woman.

Instead of the historically accurate medical procedures and elements left out from Disney’s 1950 version of “Cinderella” (such as the stepsisters maiming their feet, unlike the Grimm tale), Blichfeldt found it fitting to amplify the grotesque imagery to convey her message effectively. Her affinity for filmmakers who delve into darkness, like David Cronenberg and Dario Argento, fueled her desire to develop a disturbingly unique visual style.

From the beginning, I was certain this would be a film about bodily horrors, and I was thrilled since I had developed an interest in it several years ago,” she explains. “I find its commercial side fascinating as well, for the possibility of attracting a broad audience. Yet, I knew I could imbue the narrative with my own perspectives and preferences.

Blichfeldt’s thorough exploration of 18th-century medical practices and detailed planning through storyboarding contributed significantly to creating the film’s most intense scenes. To ensure these segments were effective, she had a key test: success.

In my creative process, I prioritize authenticity over perfection. As Blichfeldt puts it, “If it doesn’t make me uncomfortable or squeamish, it’s not impactful enough.” The essence of body horror lies in the viewer connecting with the character, sharing their discomfort. That’s why I often serve as the initial test audience, to ensure that the emotions are accurately conveyed. Even after seeing a piece countless times, I still subject myself to it first, just to make sure nothing gets lost in the editing or sound design. After all, preserving that visceral feeling is crucial to me.

In this modern adaptation, Cinderella, known as Agnes (Thea Sofie Loch Naess), demonstrates a greater sense of self-determination compared to past portrayals. Unlike Elvira, she exhibits a shrewd understanding of the world. Interestingly, despite Prince Julian’s insistence that he seeks only virginal brides, Agnes is shown engaging in a playful encounter with an estate worker early on. However, this display of sexuality does not lead to ridicule or negatively impact her prospects with the Prince.

As a cinephile, I found myself drawn to this particular scene, instinctively resonating with Elvira’s character. The contrast between the two women is striking – while Elvira embodies innocence and ignorance, Cinderella exudes confidence and natural sensuality.

The sex scene, in my opinion, humanized Cinderella in a way I hadn’t seen before. It added a layer of complexity to her character that made her seem more real, more relatable. It was a moment of vulnerability, a moment of discovery, an innocent encounter. Even as the storyteller, it took me by surprise and left me eager to delve deeper into Cinderella’s character.

The movie titled ‘The Ugly Stepsister’ made its premiere at Sundance during an exciting awards push for Coralie Fargeat’s ‘The Substance’, a body horror film that critiques cosmetic surgery and beauty norms. Blichfeldt gets enthusiastic when talking about Fargeat, as well as the feminist approach to body horror demonstrated by director Julia Ducournau in her 2021 movie ‘Titane’ and her 2016 film ‘Raw’.

Blichfeldt remarks, “Experiencing life as a woman is deeply physical.” Even though women in the Western world are largely emancipated, ancient cultural norms persist, often portraying us as objects. This may be why we’re drawn to body horror. It provides powerful metaphors or simply illustrates the physicality of being a woman. It’s captivating, and the reason it garners attention is because people react similarly.

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2025-01-23 19:20