Medusa Deluxe

Thomas Hardiman’s debut has such a fascinating concept that you want to forgive him for the fact that it can’t work because of its thorough fulfilment. A one-shot detective flick without a detective in the backstage area of a hairdressing competition, Medusa Deluxe is actually the cinematic equivalent of the hairstyles found in the film, which are utterly self-indulgent, superficial, intricately constructed and admirable mainly due to the amount of work and passion put into them. Paradoxically and peculiarly, the film confirms the rule that the last few minutes of a movie are decisive for the viewer’s overall impression of it. Specifically, you will leave feeling good, though mainly thanks to the great dance number that comprises the end credits and is, unfortunately, also the best part of the entire film. Nevertheless, as a first film, Medusa Deluxe works in that it draws attention to its creator. It will definitely be interesting to see what Thomas Hardiman makes next, especially if he manages to step out of the shadow of his acknowledged influences. As it stands now, however, he merely offers a weak rehash of Gaspar Noé’s aesthetics and Robert Altman’s narrative voice. [screening at the Marché du Film in Cannes] (23.05.2022)