Anna Kendrick makes her directorial debut with a film that blends true crime with a suspenseful thriller. The story hooks you from the start, not only because it’s based on real events, but also because it knows how to maintain tension through glances and silences. It’s not a masterpiece and it won’t go down in genre history, but it’s engaging enough to be worth watching.
What’s most compelling is Kendrick’s double role: on screen, she still brings the freshness she’s known for, and behind the camera she proves to have the instincts to tell a story with steady pacing and without gratuitous excess. There’s a restraint in the direction that feels welcome, even when the film leans on some conventional turns.
Daniel Zovatto, as the killer, steals several scenes with a disturbing and cold performance that contrasts with the empathy Kendrick’s character inspires. Their dynamic becomes the core of the film, even when the script occasionally meanders and loses momentum.
The 1970s setting is well captured, with costumes and production design that immerse the viewer in the era without feeling artificial. The recreation of the famous TV show where the protagonists cross paths is perhaps one of the most effective moments.
It’s true the film doesn’t leave a deep mark: it could have gone further in exploring its commentary on misogyny and the media’s fascination with killers. Still, what it delivers is solid, straightforward, and at times unsettling—exactly what a thriller of this kind should be.
In short, Woman of the Hour works as a debut with personality. It may not be flawless, but it shows clearly that Anna Kendrick, beyond being a charismatic actress, has a lot to say behind the camera.
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