Review of '100 Nights of Hero': A Playful Fairytale Hindered by Its Restrained Style

Visually sumptuous in both costume and set design, the fantasy romance 100 Nights of Hero marks writer-director Julia Jackmans second feature. Adapted from Isabel Greenbergs graphic novel, the film draws inspiration from the famed tales of One Thousand and One Nights, the West Asian collection that gave rise to legends such as Aladdin, Sinbad, and Ali Baba. Yet, Jackmans adaptation never fully captures the fantastical depth of these classic narratives, using them more as a framing device for a Scheherazade-like storyteller, whose queer reinterpretation proves more compelling in concept than in execution.

The story opens with Felicity Jones introducing a meta-narrative, as a child with godlike abilities, known as kiddo (Safia Oakley-Green), challenges her eccentric father, Birdman (Richard E. Grant), by creating the world and its inhabitants. This magical realism gives way to the films central plot, set in a Victorian-inspired dollhouse world. Cherry (Maika Monroe) is wed to the distant Prince Jerome (Amir El-Masry), expected to bear an heir, though Jeromes lack of interest shifts the burden of their childlessness onto her shoulders.

Supporting Cherry is her loyal companion, Hero (Emma Corrin), a pixie-haired servant who watches over her and provides emotional support. When Jerome departs the castle, he wagers with his scheming friend Manfred (Nicholas Galitzine) to tempt Cherry, testing her fidelity. Cherry is drawn to Manfred, yet remains conflicted, finding distraction in Heros nightly stories about women facing similar trials, each ending in suspenseful cliffhangers.

Heros tales occasionally take on a magical dimension, momentarily disorienting Manfred and lending the estate a dreamlike atmosphere. However, the narratives themselves often fail to sustain this enchantment. Stories range from that of Rosa (Charli XCX) navigating a familiar marital dilemma to Hero recounting the fables of her mother and grandmother, who has a celestial connection to the Moon. Eventually, these stories touch on a secret society of storytellers and the potential of narrative as a tool against gender oppression, though these elements barely resonate.

At the heart of these tales lies Heros affection for Cherry. While intriguing, the film never fully ignites the romantic or queer dynamics it suggests. The story is more narrated than experienced, often circling around feminist themes without fully engaging with them as a tale of love, loyalty, and resistance to societal constraints. Its humor is subtle, reminiscent of a restrained Wes Anderson, but the visuals remain static, rarely reflecting the characters evolving relationships.

The cinematography hesitates to explore the films enchanting world, as if bound by the panels of its graphic novel origin. Even when romantic chemistry is present, it is seldom realized on screen. The candlelit, ethereal lighting gives the movie a fairytale aura, yet the distant performances render the characters desires and passions abstract rather than tangible. The result is a visually striking film that struggles to fully animate its story and emotional stakes.

In summary, 100 Nights of Hero is a breathtakingly designed fantasy that captivates the eye but falters in delivering the emotional depth and narrative boldness its premise promises.

Author: Natalie Monroe