Woman of the Hour
★★★
Anna Kendrick makes her directorial debut with Woman of the Hour, diving headfirst into the challenge of both directing and starring in a tense thriller about the dark, twisted true story of a famous 1970s serial killer Rodney Alcala (Daniel Zovatto). Kendrick’s decision to tackle this chilling material is ambitious, and it mostly pays off, showcasing her potential as a filmmaker. She experiments with the narrative structure, playing with the timeline in a way that’s disorienting but effective, building an unnerving tension that echoes the uncertainty of the era and the dangers lurking under society's surface.
The film does an impressive job of handling sensitive content, focusing on the women who crossed paths with this man without glamorizing the violence. Kendrick's direction balances the horror of the killer’s actions with a sense of restraint, steering clear of gratuitous details while still giving a sobering portrayal of male predation. This approach reminds us how women's voices and warnings often go unheard—and how devastating the consequences can be.
However, while the film skillfully presents this allegory, it does leave you wanting more when it comes to the characters. The killer, for example, is more of a symbol of malevolence than a fully fleshed-out person. We don’t get much insight into his psyche; he’s a looming figure of evil, which serves the story’s point but might leave some viewers wanting a bit more depth. And though Kendrick’s character has an intriguing arc, there’s a lingering sense that her journey could have gone further.
In the end, Woman of the Hour keeps you gripped, delivering a taut and thoughtful thriller that never overstays its welcome. You may find yourself pondering its purpose—why tell this story now?—but one thing is clear: Anna Kendrick has arrived as a director, and this film is a powerful entry point into what could be a promising career behind the camera.
