Director: Mitzi Peirone
Year of release: 2019
Running time: 1 hour 22 minutes
by Jericho Cerrona
Flashy maximalism when it comes to the horror genre is usually reserved for male filmmakers, but Mitzi Peirone’s disorienting debut feature, Braid, is the kind of blunt force trauma to the senses which not only upends expectations, but questions whether or not we should have expectations in the first place. This is the type of film which layers on the hallucinatory visuals, askew camera angles, roving dolly shots, and unsympathetic female characters to the point where emotional investment is all but arbitrary.
Braid initially positions itself as a psychological thriller; with drug dealers Petula (Imogen Waterhouse) and Tilda (Sarah Hay) fleeing NYC after a police raid before arriving at the mansion of isolated childhood friend Daphne (Madeline Brewer). Weaving flashbacks into her trippy anti-narrative, Peirone gradually allows us to see how the bonds of female friendship can mutate into an insidious evil; personified by an absurdist game where Daphne plays dress up as the mother, Petula takes on the persona of a visiting doctor, and Tilda adopts the angst-ridden teenage daughter.
Braid is a twisted, psychedelic horror exercise which at times recalls the stylized camp of 90’s era Brian De Palma mixed with the extremity of Gaspar Noé, but from a decidedly female perspective. The fact that the only male character here is a bumbling detective (Scott Cohen) who gets dispatched in hyper-gory fashion, is proof enough this is a woman’s world. Above all else, it proves Peirone’s aesthetic tricks are in service of her film’s central thesis; that growing up female can be confusing, beautiful, terrifying, and exhilarating.