Cannes Review: Victorian Psycho Exudes Gothic Horror with Boldness and Energy

      In 1858, before the era of Freud, Ensor House, a castle located in the Yorkshire moors of Northern England, becomes the new residence for the young governess Winifred Notty (played by Maika Monroe, who has recently starred in horror films like Longlegs). She encounters a predictably awkward family of immense wealth, the Pounds, which includes Mrs. Pounds (Ruth Willson), Mr. Pounds (Jason Isaacs), heir Andrew (Jacobi Jupe), and their teenage daughter Drusilla (Evie Templeton). However, the screenplay, adapted from Virginia Feito’s novel, holds several unexpected twists for everyone involved. By transitioning from the erotic thriller Sanctuary to a period drama with a mysterious premise, director Zachary Wigon effectively harnesses this shift toward gothic horror: the delightfully quirky Victorian Psycho showcases both his versatility and dedication to the genre.

      Upon arriving at the manor, Mrs. Notty (whose name amusingly echoes “naughty”) is responsible for teaching the children everything from proper table etiquette to their family’s history, all while attempting to project her supposed moral superiority, at least in theory. Simultaneously, Winifred’s confessional voiceover disrupts the film’s narrative with sarcastic comments that hint at her psychopathic tendencies, playfully acknowledging the audience. “My name is Winifred Notty and I’m the sanest person I’ve ever met,” she proclaims in the opening scene, evoking both laughter and empathy, especially since the audience holds a deeper understanding of the struggles faced by Victorian women compared to the characters themselves. Although not explicitly stated, Victorian Psycho aligns with the psychoanalytical notion that hysteria and maladjustment may be among the few rational responses to an irrational world.

      Monroe's face frequently appears in close-ups, presented at slightly angled views to enhance her persistent, unsettling smile, while the camerawork of Nico Aguilar vividly reflects the protagonist’s twisted psyche. The film employs canted angles, flips the frame upside-down, and utilizes anxious, breathy camera movements that generate a disconcerting sense of thrill. Victorian Psycho acknowledges its influences from Brian De Palma and American Psycho, yet approaches its female lead with a non-fetishistic curiosity. Moreover, it expertly navigates the fine line between empathy and critique, using humor to mitigate any accusations of either approach. Mrs. Notty is refreshingly candid, even as she confesses to her wrongdoings or imparts a lesson on malevolence to the children. Her eccentric behavior, reminiscent of Bella Baxter from Poor Things, makes her difficult to resist, even when she commits acts of cruelty, such as violently harming an innocent animal to make a point.

      At the same time, Victorian Psycho merits commendation for refraining from glorifying her character: the script (like the novel) ensures that both we and the other characters are aware of her troubling past from the outset. Nonetheless, she expresses a “tender” feeling toward her darkness and embodies it with an elegance that is rare in contemporary female-led horror films. Ariel Marx’s provocative score underscores Winifred’s descent into madness—not only incorporating the whispers and screams that haunt her but also using strings and dramatic crescendos to amplify the theatricality and pleasure she derives from each act of cruelty.

      Beyond being a well-executed thriller, Victorian Psycho stands out as an engaging comedy, with its trio of talented actors consistently delivering lines with a stoic flair. Like Monroe, both Wilson and Isaacs complement each other as they attempt to outdo one another in their absurdity, all while maintaining a chilling detachment characteristic of their roles. An award for Best Inanimate Object Cameo should undoubtedly go to the pineapple (possibly a nod to a line from Yorgos Lanthimos’ The Favourite), which is humorously obtained by young Andrew and serves as one of the film’s tamer jokes. Even for those who may not typically appreciate the dark humor present in Victorian Psycho—often slightly misandrist, occasionally anti-natalist, but consistently anti-classist—Wigon and his team might convert you into enjoying that darker sensibility, if only for the film’s runtime.

      Victorian Psycho made its debut at the 2026 Cannes Film Festival and will be released on September 25.