Brilliant Thriller gets at the Murkier Facets of Hollywood
DIRECTED BY NICK FUNESS/2024
Nick Funess’s debut feature, Young Blondes, Stalked and Murdered, immediately captivates with its provocative title. While it may suggest a conventional slasher, the film intricately explores the psychological intricacies of ambition and the murkier facets of Hollywood. Funess deftly crafts a narrative that delves into the enigmatic and surreal, offering a nuanced examination of its characters and their pursuits.
Stacy, portrayed with exceptional finesse by Samantha Carroll, is an aspiring actress navigating the precarious world of auditions and the relentless hustle for roles. Carroll’s performance encapsulates Stacy’s tactical precision and desperation, embodying the existential dread of failure that plagues many in the industry. Despite the ostensibly supportive veneer of her friends, Stacy’s existence is shadowed by the ominous presence of a serial killer preying on young actresses like herself. The film’s tension is meticulously constructed, with the murders introduced through whispers and casual remarks rather than graphic depictions.
The film’s brilliance lies in its subversion of expectations. The titular murders serve not as the central focus but as a backdrop to explore Stacy’s psyche and her morbid fixation on the killer. This obsession becomes a perverse form of validation for her—if she were stalked or even killed, it might signify her “making it” in Hollywood. Funess skillfully uses this premise to comment on the extreme lengths individuals will go for success and the nebulous boundary between ambition and self-destruction.
Aesthetically, the film is a masterclass in restraint. Funess employs oblique and unsettling scenes that evoke a pervasive sense of unease rather than overt horror. The cinematography transforms the LA milieu into a character in itself, omnipresent and subtly shaping the narrative. This setting, combined with the film’s voyeuristic elements, creates a rich, immersive experience that underscores the story’s themes.
A particularly memorable scene involves Stacy’s eerie audition with Sacha, a project director whose intentions remain deliberately ambiguous. This audition blurs the lines between performance and reality, leaving Stacy—and the audience—questioning whether it is a genuine opportunity or a prelude to something more sinister.
Funess’s decision to focus predominantly on Stacy and her friend Josie (Elle Chapman) imbues the film with an intimate, character-driven quality. The supporting characters are often portrayed peripherally, almost facelessly, emphasizing the leads’ isolation and inner turmoil. This narrative choice, along with the film’s concise runtime of just over an hour, results in a precise and economically told story.
Young Blondes, Stalked and Murdered is a brilliantly subversive film that teases a sensationalist slasher but delivers a profound, arthouse exploration of ambition and identity. Combining psychological depth with cinematic elegance, it offers a slow-burning, introspective thriller that is both thought-provoking and visually compelling. For those seeking a sophisticated and reflective cinematic experience, this film is an unequivocal must-watch.