Plot Overview
Black Moon (1975), directed by Louis Malle, is an experimental fantasy-horror film that exists at the intersection of psychological terror, surrealism, and bizarre fantasy. The story follows Lily (Cathryn Harrison), a woman seeking refuge amid an apparent gender-based civil war, where men and women are systematically killing each other. She stumbles upon an eerie château where she encounters an assortment of strange characters, including her own doppelgänger siblings, a mysterious elderly woman, and a unicorn. The narrative is filled with strange symbolism, disjointed dream-like sequences, and scenes that seem to shift between reality and fantasy. Malle’s film is undoubtedly unique, but its opaque, confusing nature makes it more of an intellectual puzzle than an accessible horror film.
Surrealism and the Uncanny
Black Moon is often regarded as a work of surreal cinema, and its avant-garde structure and unsettling imagery make it a curious exploration of the unconscious mind. Malle deliberately avoids straightforward storytelling, creating a dream-like atmosphere where logic takes a backseat to emotional and symbolic exploration. Lily’s journey through the château, where nothing makes sense, exemplifies this lack of coherence. From the haunting image of the unicorn to the disjointed interactions with the other characters, the film seems to exist solely to bewilder the viewer. The narrative jumps from one strange event to another, never bothering to explain much, and this disjointedness, while potentially intriguing to some, leaves the majority of the audience lost and frustrated. The elements that should be terrifying or profound—such as the zombie-like presence of the old woman or the unsettling relationship between the siblings—feel more cryptic than effective.
Visuals and Cinematography
One of the film’s more admirable qualities is its visual style. Shot by the legendary Sven Nykvist, Ingmar Bergman’s frequent cinematographer, Black Moon boasts beautiful, eerie visuals. The lush, wild surroundings of Malle’s own estate, combined with a haunting, oppressive color palette, create an atmosphere that is as much a character in the film as the people themselves. The eerie, shadowy landscapes contribute to the feeling of disorientation and claustrophobia, and the absence of direct sunlight—choosing to shoot scenes only when the light was just right—lends a sense of foreboding to the film. Still, these striking visuals only go so far in covering up the film’s narrative shortcomings, and while they are aesthetically pleasing, they do little to ground the film in a coherent plot.
Themes and Symbolism
Malle’s film is overflowing with symbolism, but much of it feels vague and forced. The gender war at the film’s core is an interesting concept, but its exploration is so muddled that it loses its impact. The gender conflict is never fully developed or resolved, leaving the audience unsure of its significance. Lily’s interactions with the bizarre characters in the château, particularly the incestuous and violent sibling relationship between Brother and Sister Lily, suggest themes of repressed desires and the struggle for autonomy, but these ideas are obscured by the film’s lack of clarity. The unicorn, an apparent symbol of purity or escape, seems like it should be a key figure in Lily’s journey, but instead, it remains just another cryptic image that further complicates the narrative rather than providing any real thematic depth.
Characters and Performances
The film’s characters are similarly enigmatic and underdeveloped. Cathryn Harrison’s portrayal of Lily is more passive observer than active participant in the story, and while this may be a deliberate choice, it doesn’t make her character particularly engaging. Lily seems to drift from one strange encounter to the next, never fully reacting to the chaos around her. The supporting cast, including Don Pedro Colley as Baron Samedi and the unsettling siblings portrayed by Therese Giehse and Joe Dallesandro, all contribute to the film’s strange atmosphere, but their performances don’t offer any clarity or emotional resonance. Instead, they add to the overall sense of alienation, making it difficult to connect with anyone in the story.
Frustrating Narrative and Pacing
Perhaps the most significant flaw of Black Moon is its pacing. The film is a slow burn, but not in the traditional sense. It doesn’t gradually build toward a revelation or payoff; instead, it lingers on scenes that feel unnecessary and unfulfilling. At times, it seems as though Malle is trying to create tension or intrigue, but the film’s lack of a clear narrative structure and its reliance on abstract, fragmented scenes leave the audience feeling disconnected from the unfolding events. The film’s length also exacerbates this issue, with scenes that feel drawn-out and redundant, contributing to the overall sense of frustration rather than providing a satisfying emotional or intellectual payoff.
Conclusion
Black Moon is a film that is as puzzling as it is visually striking. It has all the elements of a classic experimental horror film—surreal imagery, a vague but intriguing premise, and a dreamlike atmosphere—but it falters in its execution. The narrative is frustratingly opaque, with an abundance of symbolism and an absence of coherence that leaves viewers scrambling for meaning. While the film’s stunning cinematography and haunting visuals will appeal to some, the lack of emotional depth and the confusion in its storytelling make it difficult to engage with on a deeper level. For those who enjoy avant-garde cinema and are willing to embrace its bewildering nature, Black Moon may offer something of interest, but for the majority, it will likely be an unsatisfying and perplexing experience.
