Woman of the Hour was one of the films I was most excited about at TIFF 2023. Last year, Anna Kendrick’s Alice, Darling was one of my favourites, and I was excited to see her return to the festival, not only acting but directing. Leaving the film, I thoroughly enjoyed it. But now, weeks have passed, and I find myself struggling to find what was memorable about it, and I think that speaks volumes.
The film is based on a true story about Rodney Alcala, who managed to be convicted of seven murders, with eight confirmed and up to 130 suspected Women of all types in the 70s. There were many true stories at TIFF this year, and I wish I could say this wasn’t one of them, but here we are. Woman of the Hour jumps between Kendrick’s character, Cheryl’s timeline, and Alcala’s timeline, eventually bringing the two together for the grand finale.
Exploring the killer’s timeline out of sync keeps viewers on their toes. We never know which storyline is the one that will get him caught, if at all, or if his spree will continue. Each kill is shown through a different lens, from the skylight as we look in, from the distance as we watch on, unable to stop it. The audience is very much made to feel helpless as this made-to-be average-looking man uses his charisma to prey on innocent women and sometimes even men.
Daniel Zovatto expertly balanced this charming persona with seamless flips to what is a very clear predator. If that weren’t enough, he manages to explore moments of rage (usually springing from rejection) and even genuine moments of vulnerability with Amy (Autumn Best). From the first sign of danger, the actor made me think of Vincent D’Onofrio’s character in The Cell (among many of his other roles).
The numerous women in Woman of the Hour feel somewhat forgettable, as their moments are so brief because they are a means to an end of sorts. Kendrick’s character is the only one we spend much time with, a struggling actress who makes her way onto a dating show. It’s with her character we can see the full progression of charm, to confusion, to fear with the killer. Kendrick is, as always, charming, quick-witted and funny, and is also able to transform herself into someone small and meek when frightened.
“Woman of the Hour was…entertaining. That is not inherently bad, but it means that I am not chomping at the bit to see it again.”
We also spend time with Best’s Amy. She appears to be the youngest of the victims we see. A runaway who is charmed by Alcala. Watching her charm Zovatto’s Alcala and tame the beast, so to speak, is surprisingly convincing. There is one more Woman we spend a bit of time with, Laura (Nicolette Robinson), who recognizes Alcala. She depicts many women we all know who have been ignored, dismissed and misled while she is desperately trying to find help. Her struggle and frustrations were well conveyed, though I would have accepted a little more desperation.
Films at TIFF this year had standout moments, both good and bad. Dicks: The Musical was outrageous. His Three Daughters was quick and meaningful. Close to You was unique. Sing Sing told a powerful story. Woman of the Hour was…entertaining. That is not inherently bad, but it means that I am not chomping at the bit to see it again. It means I wasn’t terrified or moved to tears or laughing out loud. I was happy to be there, but nothing stuck with me.
Woman of the Hour is a serviceable film that I have no complaints about. Woman of the Hour is also a film that I won’t be raving about for years to come. Netflix has picked it up, so for all the true crime fans out there, you can judge for yourself soon!
