Film Review #174: The Ugly Stepsister

Still Credit: Shaw Organisation
Inspired by the Grimm Brother’s grisly version of ‘ Cinderella ’ , Emilie Blichfeldt sets her feature directorial debut in the 19th century, within the Nordic kingdom of Swedlandia. When Prince Julian invites all eligible maidens to his royal ball, Elvira (Lea Myren), the “ugly” stepsister of gorgeous blonde-haired Agnes (Thea Sofie Loch Næss), undergoes a series of extreme procedures to morph herself into the lover of the prince’s dreams.
While the plot does not deviate too much from what we already know of the classic fairy tale, The Ugly Stepsister shifts the sympathetic spotlight from Cinderella (a.k.a. Agnes) to Elvira. Elvira first starts off as a bright-eyed teenager - an awkward ugly duckling in braces - and soon transforms into a suitor who is ruthless and determined to risk it all to catch the prince’s attention. With the female characters egging her on, Elvira falls into a rabbit hole of historically-accurate, bloody cosmetic and reconstructive procedures while also being tossed into finishing school.

Still Credit: Shaw Organisation
“Beauty is pain” - Dr. Esthétique
Director Blichfeldt fills in the backstories of the characters in a way that defies fairy tale archetypes. Prince Julian, for instance, is not quite the standard charming and romantic hero, but a much more layered personality that you'll find yourself clocking on your watch. In this regard, the characters possess a level of depth that ends up being much more enjoyable for adults who have graduated from fairytales. Blichfeldt also uses the Cinderella character of Agnes to shatter the modern ideals of romance. At heart, no one in the film is simply black-and-white.
Stylistically, the film playfully presents a campy 1970s aesthetic backed up by a haunting score that relies heavily on retro synths. The Ugly Stepsister draws a violent juxtaposition between Elvira’s rosy fantasy and the gothic body horror that builds relentlessly to the end while still sprinkling pockets of humour throughout its 110 minute runtime.
“There is only one Cinderella, we can't all be her." - Emilie Blichfeldt

Still Credit: Shaw Organisation
What is there to Blichfeldt’s modern take on a classic tale given that we already know how Cinderella ends? Still quite a lot, I would say. For one, Elvira’s obsession with her outer appearance will hit close to home for anyone who has ever felt uncomfortable and inadequate in their own skin. The film’s messaging of how the endeavour for bodily perfection can eat one up inside, literally, and turn destructive may be the most receptive to “young girls” who are above 21 (as per IMDA’s rating). With Blichfeldt herself admitting that the target audience of her film is young, female cinephiles, I would highly encourage this demographic to catch it on the big screen, including those who may not usually subscribe to horror, like myself. That said, The Ugly Stepsister remains worth a watch for all. It sparks the critical conversation of the standards we set for ourselves and others, of not just beauty but social status, in our capitalist society.
As Beyonce says, perfection is a disease of a nation, or in the case of The Ugly Stepsister , a whole kingdom.

< Older Post

Newer Post >

Film Review #174: The Ugly Stepsister

Recent Posts

Singapore Youth Film Festival 2026: How It’s Run — and Why It Matters

Disclosure Day: A Defence and Autobiographical Reading

Tinā (2024): How Music, Culture, and Community Help People Rebuild After Tragedy

The Furious: A Marriage of Styles

SYFF: Mountain Mountain

Interview with The Creators Behind ‘Mountain Mountain’

Are We Finally Back?: Backrooms, Obsession, Theatre-going, and the State of the Industry

The Beast in the Woods

Commentary: Fiction and Vulnerability in Drive My Car (2021)