TMS Movie Review: Her Private Hell

(NWR Originals / Neon)

It’s always a bummer when you’re reminded you might not actually be a fan of a certain screenwriter and/or director, but really just enjoy a film of theirs. For me, this has always been the case with Nicolas Winding Refn, who directed one of my favorite movies, Drive (2011), and then went on to make virtually nothing else I care about. Now, the reason for this is because I think he has a great, distinctive visual style, but is a subpar writer. Unfortunately, all of his films since Drive have been penned by NWR himself. His latest feature, Her Private Hell, was ‘honored’ the worst reviews of this year’s Cannes Film Festival, unsurprisingly to those who have been paying attention to the Danish filmmaker’s career.

As fans know, describing the ‘plot’ of a latter day Refn picture is practically a moot effort. His schtick now is primarily ‘vibes’ or ‘aura farming’ as the youth call it on social media these days. NWR hasn’t hidden his lack of interest in genuine stories or morals in his films, and Her Private Hell is no different. Current indie it girl Sophie Thatcher is perfectly cast as Elle, a moody would-be actress with ‘daddy issues’ that includes her former good friend and fellow actress Dominique (Havana Rose Liu) marrying Elle’s sleazy, neglective father Johnny Thunders (Dougray Scott). Then we pause Elle’s story to learn about a military serviceman called Pvt. Kay (Charles Melton) and his attempt to avenge the death of his young daughter.

Kristine Froseth co-stars as a ditzy newcomer to showbusiness who becomes a part of the same circle as Elle, and Diego Calva appears as a sketchy townie Dominique is seeing on the side. Her Private Hell is loosely inspired by a 1968 sexploitation flick with the same title directed by Norman J. Warren; and also incorporates references to NWR’s past films Only God Forgives (2013) through the Melton segments, and The Neon Demon (2016) with Thatcher’s arc [right down to her character having the same name as Demon star Elle Fanning].

(NWR Originals / Neon)

Refn has revealed he created the concept of his new movie by blending together three different ideas he had been brainstorming, and it really shows. At one point we’re sent into an in-universe Barbarella-esque sci-fi movie the girls are filming, there’s a boogeyman known as the ‘Leatherman’ killing young women and creeping around in various sequences [making it extra unfortunate for Her Private Hell that we already got a ‘creepypasta’ film this summer with Kane Parsons’ Backrooms].

Is Scott’s character sharing the same name as 1970s rock musician Johnny Thunders intentional or complete coincidence? Who knows. The characters are all loosely, but carelessly, connected by the end, and dialogue is once more NWR’s weakness, exposing all of his tired hipster tendencies. Sadly, even composing legend Pino Donaggio’s score was a bit unbearable after a while. The two things you can always rely on with Refn are stellar casting and beautiful aesthetics, though if you’re not already enjoying his film both will feel rather wasted. If NWR is truly making these movies for himself and doesn’t care about the critics or fan acceptance, like his avid fans suggest, then mission accomplished. You can’t claim you were misled if the creator himself isn’t even trying to be accessible. Thatcher, Liu and Melton will still have good futures ahead if they continue working with interesting auteurs and won’t be directly impacted much by their new movie’s reception. But much like David Lowery’s Mother Mary from a couple months ago, movie viewers will begin Her Private Hell with a lot of questions and receive hardly any answers.

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