Electra (2025) - Film Review

      Electra, 2025.

      Directed by Hala Matar.

      Featuring Maria Bakalova, Jack Farthing, Daryl Wein, and Abigail Cowen.

      SYNOPSIS:

      A journalist and his female companion journey to Rome to interview a renowned musician, where an invitation to a country estate turns into an unexpected situation. Co-writer and director Hala Matar presents a solid psychological thriller concept in Electra (co-written with Paul Sado and one of the film's stars, Daryl Wein). In this story, a man (Daryl Wein) poses as a music journalist in Rome, pretending to be in a relationship with his friend (Abigail Cowen) to gain access to the opulent countryside home of a fading rockstar (Jack Farthing) and his performance artist girlfriend (Maria Bakalova) in order to steal a painting for motives that are gradually unveiled to the audience. The painting is claimed to feature a unicorn, according to the fabricated journalist Dylan, who asserts its historical significance and high monetary value.

      Employing fake identities and a scripted background story about how they met, Dylan clearly harbors more personal motivations for his theft of the painting. Simultaneously, Milo is eager for public attention, living an unstable existence in a questionable open relationship, hiding secrets, and appearing unfulfilled despite his affluence and involvement with Francesca. He gives off a Russell Brand vibe, though with fewer issues; despite his flaws, he exhibits remorse for them. An in medias res opening hints that the outcome will not be positive, showing one character from a distance cleaning up a dangerous situation while leaving their identity vague.

      However, the premise quickly stretches believability: Milo would likely have a team to conduct a background check that would reveal Dylan is not a journalist. This would also necessitate additional characters, which presumably exceeded the budget. The film’s quirky tone feels misaligned given its exploration of psychological themes. There are incongruous video game-inspired elements, distracting cartoonish sound effects, and self-indulgent performance art, creating a contrast with the darker aspects surrounding celebrity male power, abuse, guilt, and vengeance.

      The excessive performance art from both couples is intended to provide psychological depth to the characters, yet Electra becomes a tedious experience that lacks direction. Its runtime is artificially extended through awkward attempts to deliver the painting or Dylan and Lucy hesitating to leave the countryside home, unsure of the right moment to act again. The longer they stay with the eccentric wealthy couple, who question what’s amiss with Dylan and Lucy's relationship while overlooking their own fractured bond, the more a rift develops between the two friends. Milo’s midlife crisis becomes increasingly evident through melancholic, drunken confessions, while Lucy, the aspiring actress, genuinely connects with Francesca.

      Ultimately, much of this does not convey the essence of a psychological thriller but strives for misguided stylistic choices. This is particularly frustrating as there are commendable performances, and the film’s central themes, including Dylan’s grievances against Milo, are engaging. There is a notable dissonance in Electra’s tonal ambitions, which deteriorate further when considering its implausible plot twists.

      Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

      Robert Kojder is a member of the Chicago Film Critics Association, Critics Choice Association, and Online Film Critics Society, and serves as the Flickering Myth Reviews Editor. Check here for new reviews and follow my BlueSky or Letterboxd.