Lush Hyperrealism: 100 Nights of Hero | BFI London Film Festival 2025
Adapted from a queer feminist graphic novel that borrowed from Scheherazade, this luscious experiment in fantasy-as-realism is a true treat for the Ren Faire Romance Set (my friends and collaborators all), and is bound to be a cult favourite.
Julia Jackman I was not familiar with your game, dear sis.
What I love about film, especially feminist film, is that there's a sweet spot where the sugar stops and the medicine begins – not all can find that balance. 100 Nights of Hero knows that it's not telling a new story, but trying to administer the medicine in a way, with that balance, that might inspire some further action - in it's own small way, to rescue our sisters who are being lost to Tradwifery, and reassert the perils of Patriarchy in the public consciousness.
Atop that, LESBIANS! 🎉
In a beautiful and understated performance from Emma Corrin, our Hero is narrator, comic relief and our vehicle for awakening, as Maika Monroe's Cherry slowly finds the constraints of her 'destiny' too much to bear. Again - there is no twist here, everything is telegraphed - it is not whether we get there, but how, that is the most delicious element of the film.
Surely the genius of the graphic novel, reasserted and depicted with great care here, is the introduction – the base assertion that Patriarchy is made up. In this fantasy land, it is made to look ridiculous - replete with vulturous bird imagery - at the atomic level. Therefore, sugar, and so medicine. As the story unfolds, and fantasy gives way to genuine fear and danger, and parallels are drawn at a deeper emotional level, the genius of this method of delivery is revealed.
This is, beyond a shadow of a doubt, the most visually beautiful film of the year (rivalled only by Testament of Ann), in every single element from the cinematography, the bold and unashamed camp choices of wardrobe, camera, hair and makeup, aligning both femme wish fulfilment and cohesive worldbuilding.
On the topic of femme wish fulfilment - this film knows who it wants to speak to, and does not care about the old grandpa Press guy who was sat next to me at the screening who left when he realised this was a feminist fantasy film – he has an entire awards season to enjoy. No - 100 Nights of Hero will not apologise for loving women, centering women, and romanticising women – even the most high camp renditions of us.
A film like this should be protected - it is a rare breed of film that cannot be allowed to disappear. It evoked Gregg Araki, Princess Diaries, Bridgerton(ish), Jane Austen(esque) and everything nice.
I await Jackman's next outing breathlessly.
