Eight teenage girls become trapped in an endless birthday party after a massive (imaginary?) earthquake. The girls' sanity and psyches dissolve as they run out of food and water. Eventually, they regress to their baser instincts, exploiting each other's fears and insecurities.... (Full plot summary below)
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Eight teenage girls become trapped in an endless birthday party after a massive (imaginary?) earthquake. The girls' sanity and psyches dissolve as they run out of food and water. Eventually, they regress to their baser instincts, exploiting each other's fears and insecurities.
Leave your thoughts about Ladyworld.
| Screen DailySarah WardIn pairing the aftermath of a natural disaster with the minefield that is female adolescence, it proves its own surreal, savage and superbly performed creation. |
| The New York TimesTeo BugbeeKramer choreographs action through striking tableaus that follow the group’s shifting dynamics; the score, built from percussion and a chorus of girlish hoots, builds the tension. |
| Film ThreatAlex SavelievUnpredictable, impassioned (despite the cold tone), and highly artistic, Ladyworld might contain a few amateur touches here and there, a few lags in momentum (and an utter lack of mainstream appeal), yet it’s cerebral and forceful, and will have you deliberating its themes for days after. |
| The GuardianPhil HoadToo many scenes of sub-vaudeville witchy cavorting suggest Kramer hasn’t completely mastered her own poetic register. But it is bracing to watch her reach for the stylised impact needed to carry her ideas about social identity; exactly the kind of the expressive messiness this wing of the post-#MeToo film industry should be engaging in if the old order isn’t going to reimpose itself. |
| The Hollywood ReporterFrank ScheckLadyworld proves as much of an endurance test for viewers as the central characters. |
| Los Angeles TimesKatie WalshWhile “Mean Girls Apocalypse” sounds like a winning premise, and an incredible thought experiment, the result is something narratively slack and intensely off-putting, which no amount of excellent acting can save. |
| User ReviewMarnie HAriela's interpretation is the most wonderful thing of the movie, I ended up being completed in love with her acting skills, I should see more works from her |
| User ReviewJoopsonFlawed; ultimately it seems like the writer thought "Lord of the Flies, but with girls", and didn't bother to iron out the details to make sure everything holds up. They also toned down the stakes and timeline significantly, which left me wondering what exactly was happening at times: were the graphic truths being hidden from the viewer, or did we see the whole truth? Aesthetically though, it's great, and the glimpses of character are strong and make for an enjoyable watching experience. Some carryovers from Lord of the Flies don't fly, though; the conch becomes a chandelier crystal, but never holds the totemic power or plot significance of the conch— Dolly has much of Piggy in her, but not the more significant and helpful parts— the beast becomes the man, but again never feels like much, except as a symbol. And the man is never adequately explained, and neither is the disappearance early in the movie. When you get right down to it, it kind of feels like a beautifully shot student film after the director read Lord of the Flies for the first time. But for all that, it was still pretty ok. And I did like the inversion, turning the savagery of boys into the savagery of girls, which is based around social coercion, ill-conceived conceptions of worth, and sometimes shocking displays of callous cruelty. The makeup replacing the war paint was a great choice. |
| User ReviewJLuis_001It has the plus of providing a feminine perspective to its story, however the narrative resource has already been seen too much. The social and civil collapse of a group of people when they're locked up and resources begin to be scarce. And that's a predictability that it never manages to surpass. |
