Marlina the Murderer in Four Acts is the year’s best Sergio Leone-inspired feminist revenge movie – I promise. Director Mouly Surya wears her many influences on her sleeve but isn’t beholden to them. Surya’s distinct vision transcends pastiche, resulting in an intoxicating drama with a razor-sharp bite.

Marlina (Marsha Timothy) is a grieving widow who hasn’t yet buried her late husband. News travels fast in Marlina’s neck of the woods so when locals drop word of a defenceless widow it’s like throwing chum into shark-infested waters. The first vulture to arrive is Markus (Egy Fedly), an apex-level scumbag. Markus declares that his crew of seven degenerates will begin showing up at Marlina’s home. They plan on eating her food, stealing her livestock, and sleeping with her. Marlina has other ideas. After Markus’ crew arrives, Marlina takes drastic measures to remove the thugs from her home. And in case you glossed over this movie’s title, those drastic measures are murder.

Marlina the Murderer in Four Acts is impressive in several ways, but the music is the first thing to hook you. The film’s score sounds like Ennio Morricone’s work in cinema’s finest spaghetti westerns. And whenever the music blasts as the camera pulls back and reveals expansive rural landscapes you half expect Clint Eastwood to stroll through chewing on a cigarillo. The score goes a long way towards establishing the film’s tone and sense of place but I have half a mind that the music oversells what’s offered. Marlina the Murderer in Four Acts doesn’t possess the same types of devilish charms as the films it superficially resembles.

I can’t say enough about Marlina the Murderer in Four Acts’ gorgeous cinematography. DP Yunus Pasolang lets viewers know what’s in store right from the opening frame. The first shot reveals a plump golden sun casting its rays down rolling grassy hills that resemble ocean waves. Then the movie follows that image with a string of breathtaking shots that put many of today’s big-budget films to shame. If you nerd out over composition, there are stretches of the film you can enjoy with the volume muted. It’s not just the exterior shots that are impressive. There are sequences inside Marlina’s tiny home when the deliberate pacing, framing, and low camera placement feel reminiscent of Yasujirō Ozu’s work.

There isn’t much violence in the film but what we do see is disturbing. Movie violence stopped phasing me by the time I was 14. I could watch the goriest movie while eating lunch or sit through a J-horror film and go right to sleep. But a couple images stayed with me over the years. There’s a scene in Goodfellas when the guys hear a man squirming in the trunk of Tommy’s car. They pop the trunk and then ferociously stab that poor sucker to death. That image hasn’t left me because of how authentic that moment feels. I had similar feelings about the violence in Marlina the Murderer in Four Acts. The camera doesn’t glamorize the short bursts of violence and it’s chilling how matter-of-fact they play out. I found an instance when a husband slaps his wife tougher to watch than a decapitation. Your mileage may vary.

Even without the poisoning, decapitation, wife abuse, and rape, this isn’t a movie for everybody. It’s not the crowd-pleaser that its name, poster, and score would have you believe. Depending on your tastes, the film is either deep and contemplative or slow AF. Surya asks the audience to sit through long scenes to soak up the atmosphere and reflect. It’s similar to watching a Terrence Malick movie when he’s in self-indulgent mode. I’m all about films with intricate themes and great atmosphere but this picture pads out scenes for too long. This film meanders, so if you have the attention span of a delirious beagle you’ll find yourself checking your phone. A lot.

If you go into Marlina the Murderer in Four Acts expecting a standard revenge flick you’re asking for disappointment. First off, this movie’s pacing flows like a lullaby dipped in syrup. And second, Surya’s main concern is with making a broad thematic statement that trumps the film’s plot. Dispatching Marlina’s seven tormentors only amount to a drop in the evil-man bucket. In Marlina’s world, the oppressors and tormentors aren’t just the rapists, killers, and thieves creeping through her door. They’re husbands, neighbours, and the guys wearing badges. If you’re open to a stunning looking social commentary that defies Hollywood conventions than you can’t do better that Marlina the Murderer in Four Acts.

https://www.youtube.com/watch?v=GBou-JfWz54