Medusa Deluxe

Set amongst the cut-throat world of a regional hairdressing contest, this rather thinly spread drama follows the antics of some would-be competitors who gather for their annual jamboree only to find that one of their number has been killed. Scalped, to be precise. As the story develops, we see that there are no shortage of suspects from the great and the good as the scene-stealing "Cleve" (Clare Perkins), "Divine" (Kayla Meikle) and "Kendra" (Harriet Webb) spat, squabble and spar like the best of them. They are all stuck waiting for the police to question them so tensions are only going to increase as they gossip, conspire and also demonstrate some considerably imaginative skills with their hairdos before: enter the partner of the victim. "Angel". At last some semblance of acting from the usually handsome but wooden Luke Pasqualino. Loads of stereotypes, yes, but he actually turns in quite an engaging performance as the camp-as-Christmas, distraught, mincer. Unfortunately, though, this is really just a one act play that has been overstretched into one hundred minutes of screen time, and though it most certainly has it's moments, there are too many extended tracking shots as the camera follows someone, somewhere, around their complex that seemed bigger than the Royal Albert Hall. There's simply too much padding around a story that could have done a little more to develop the personalities more. It is underpinned by some effective black humour - and some of that delivers well and caustically (especially from Perkins) but there's too much of a paucity of that to stop this from feeling rather longer than it is. It looks every a inch a television play, and as such does it's job fine - but I wouldn't say you need to buy a ticket to watch it.

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.

Medusa Deluxe offers a visually striking and stylistically ambitious experience, featuring a faux single-take camera that glides through the hallways and dressing rooms of a regional hairstyling competition just before one of the contestants, Mosca, is murdered. The film introduces a large cast of suspicious characters-rivals, lovers, and associates-creating an atmosphere filled with intrigue and gossip.

However, despite its unique visual approach, the movie falls short narratively. The plot lacks depth and momentum, and the characters never develop beyond surface-level traits. The initial mystery quickly loses steam, and the pacing slows considerably, making it hard to stay engaged.

The long-take technique, while impressive and fluid, ultimately works against the film. Without real suspense or danger in the characters' movements, it drags on, stretching the runtime and diluting the tension. As a whodunit, Medusa Deluxe disappoints; it feels more like a stylish showcase of dialogue and cinematography rather than a compelling mystery.

Director Thomas Hardiman and cinematographer Robbie Ryan deliver a sleek and elegant film, but it's missing the emotional punch needed to make the story resonate.

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.

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.