FRANKIE MANIAC WOMAN
8.3 / 10
Frankie Maniac Woman is one of the most singular horror movies I’ve seen in years: bizarre, fearless, and absolutely worth your time.
The latest film from horror director Pierre Tsigaridis, Frankie Maniac Woman is a slasher that subverts the usual genre stereotypes while reveling in its own demented vision. Headlined by Dina Ramona Silva, it’s a film completely comfortable in its own skin, unafraid to take massive swings and carve out its own path in the horror landscape.
The setup will feel familiar to anyone who wasn’t part of the Mean Girls crowd. Francis is a talented but overweight singer in Los Angeles, grinding toward her dream while constantly running into obstacles based not on skill, but appearance. She’s also creepily stalking Gabriella, an idealized version of who she wishes she could be, when she witnesses Gabriella being harassed at the gym by a man who is the living embodiment of why women choose the bear. That moment sets off a chain reaction of violence and gore, as Francis begins morphing into the titular Maniac Woman.
What I loved most is the pacing and campiness. Pierre’s earlier work played more conventionally within horror. With Frankie, he breaks free from any preconceived idea of what a horror film should be and fully embraces his inner weird — no doubt propelled by his collaboration with Dina Silva on the story and script.
Frankie Maniac Woman carefully rides the line between campy and bizarre, with just enough self-awareness to occupy a space entirely its own. Even the third act, which veers into completely uncharted territory, pulls off the insanity and closes the loop. I also can’t say enough good things about Dina’s performance. She is absolutely fearless and leaves it all on the floor.
It’s an exciting new entry in indie horror — and destined to become a cult classic if enough people discover it. My score: 8.3 out of 10, and a strong recommendation to find it and watch it.
The latest film from horror director Pierre Tsigaridis, Frankie Maniac Woman is a slasher that subverts the usual genre stereotypes while reveling in its own demented vision. Headlined by Dina Ramona Silva, it’s a film completely comfortable in its own skin, unafraid to take massive swings and carve out its own path in the horror landscape.
The setup will feel familiar to anyone who wasn’t part of the Mean Girls crowd. Francis is a talented but overweight singer in Los Angeles, grinding toward her dream while constantly running into obstacles based not on skill, but appearance. She’s also creepily stalking Gabriella, an idealized version of who she wishes she could be, when she witnesses Gabriella being harassed at the gym by a man who is the living embodiment of why women choose the bear. That moment sets off a chain reaction of violence and gore, as Francis begins morphing into the titular Maniac Woman.
What I loved most is the pacing and campiness. Pierre’s earlier work played more conventionally within horror. With Frankie, he breaks free from any preconceived idea of what a horror film should be and fully embraces his inner weird — no doubt propelled by his collaboration with Dina Silva on the story and script.
Frankie Maniac Woman carefully rides the line between campy and bizarre, with just enough self-awareness to occupy a space entirely its own. Even the third act, which veers into completely uncharted territory, pulls off the insanity and closes the loop. I also can’t say enough good things about Dina’s performance. She is absolutely fearless and leaves it all on the floor.
It’s an exciting new entry in indie horror — and destined to become a cult classic if enough people discover it. My score: 8.3 out of 10, and a strong recommendation to find it and watch it.