She Will

It might not chill you to the core, but it’s ripe and entertaining.

Marries the spiralling, self-reflexive narrative of Shirley Jackson’s novel The Haunting of Hill House with echoes of the off-kilter visual sensibility of the 1962 cult oddity Carnival of Souls.

This is a very powerful film -- not so much good as disquieting and effective.

No wonder it’s executive produced by Suspiria director Dario Argento. It weaves, arachnid-like, in the same dreamy patterns as his abundant body of work.

She Will is somewhere between a feminist revenge horror and an arthouse psychodrama. Don’t expect too much in the way of scores or gore but it’s rum, stylish and sometimes strikingly original.

If the script can be spotty, the movie excels when the focus falls on Krige and her imperious Veronica...

In Ghent, Colbert explores how trauma distorts both the passage of time and reality itself, and how perspective and purpose are ultimately constructs that can — over a lifetime — evolve or evaporate.

She Will is an elegant debut from Colbert, who manifests different gothic horror elements within the narrative and cinematography.

She Will forces us to pay attention to our mother daughter relationships, women's horrors, and real world consequences.

A reverie that avoids a classic narrative yet isn't daring enough to be abstract, and so it lives between genres: drama, terror, comedy, and supernatural action... lacking the identity it needs to become defining. [Full review in Spanish]