"The Ugly Sister" (2025) – Movie Review, Trailer, and the Hidden Meanings of a Dark Cinderella

Contents:

• What is this movie about: the plot of "Ugly Sister"
• How "Ugly Sister" differs from the usual Cinderella tale
• Who directed "Ugly Sister"
• The characters and actors of "Ugly Sister"
• Beauty practices in "Ugly Sister": fiction or reality
• What's wrong with the movie "Ugly Sister"

What is this movie about: the plot of "The Ugly Sister"

In a magical kingdom, Rebecca (Ane Dahl Torp), a strong and determined woman, marries the wealthy but elderly Ralph Karlsson. They already have children from previous marriages: Ralph has a beautiful daughter, Agnes (Thea Sophie Loch Ness), and Rebecca has two daughters, the younger Alma (Flu Fagerli) and the older Elvira (Lea Myrén), who are not particularly beautiful. However, their expectations are quickly shattered by cruel reality: on their wedding day, Ralph dies right at the celebratory table. It soon becomes apparent that his fortune was an illusion—in reality, he was deeply in debt. Now Rebecca must not only cope with the loss but also find ways to pay off the debts her husband left behind.

Amidst this despairing story, a ray of hope appears: Prince Julian (Isak Kalmroth) announces an upcoming ball, where in three months he will choose a bride from among the kingdom's young women. This creates an opportunity for a profitable marriage for one of his daughters. However, Alma is too young, and Elvira is considered unattractive in her family. Nevertheless, Elvira is willing to do anything for the dream of a fairytale wedding and the prince whose poetry she reads with trepidation. The plot has much in common with the well-known fairy tale "Cinderella," but Emily Blickfeld's film takes a darker turn, introducing unexpected twists and complications into the heroines' lives.

How "The Ugly Sister" differs from the familiar Cinderella tale

In the new film, the main character is not Cinderella, but her sister, which brings a fresh perspective to the familiar story. Stepmothers' daughters are traditionally perceived as evil and ugly characters, but in this interpretation, everything is different. Elvira is a naive and kind girl, dressed in a luxurious dress with intricate hairstyles. She resembles the young heroines played by Inna Churikova or Irina Muravyova and is a model of obedience and devotion, completely surrendering to her love for the prince. This new take on the classic fairy tale is captivating and allows viewers to see the emotional depth and complexity of Elvira's character. Elvira is not ugly, but simply an ordinary girl with a neutral, even pretty, appearance. However, this is not enough to achieve success. Elvira's mother realizes that to improve her daughter's chances of recognition, she must radically change her appearance. Any method, even the most radical, is used. For example, reshaping her nose with a hammer and chisel, and sewing thick eyelashes to her eyelids. All this is done with virtually no anesthesia, highlighting the extreme measures the mother is willing to go to for her daughter's beauty and success. Elvira decides to resort to surgery, convinced that her ordinary appearance is a flaw. In pursuit of the ideal, she not only harms her body but also destroys her psyche, striving for a successful marriage. As a result, from a healthy and young woman she turns into an unhappy and crippled creature, becoming a real “nasty sister”. This process highlights the importance of self-acceptance and the realization that appearance does not determine a person's intrinsic worth.

Who directed "The Ugly Sister"

Emily Blichfeld presents her feature-length debut, "The Ugly Sister." She grew up in a small Norwegian village above the Arctic Circle, a place where, she says, there were no people or video stores. As a child, Emily could only watch one TV channel, which would stop working completely during thunderstorms.

Emily's parents were skeptical of cinema, preferring that their daughter read more. Therefore, she only began to seriously take an interest in films at the age of 13, when she received her first VCR. From that moment on, her favorite films included Jean-Pierre Jeunet's "Amélie" and Lars von Trier's "Dogville." These films, striking examples of aesthetic visuals, had a significant influence on the creation of "The Ugly Sister." This film also features a transition from sophisticated visuals to elements of camp, and its tone oscillates between sincere sentimentality and dark humor. This combination of styles makes "Ugly Sister" an intriguing subject for analysis and discussion in the context of contemporary cinema.

Body horror was inspired by David Cronenberg, whose films Blickfeld saw in 2015. Cronenberg is one of the key directors in this genre, his works exploring the boundaries of the human body and psychological transformations. Filled with symbolism and profound metaphors, Cronenberg's films have had a significant influence on the development of body horror and shaped a unique visual style that continues to inspire contemporary filmmakers.

The director shared her impressions of cinema, noting that she is quite squeamish and often finds scary scenes on screen uncomfortable. However, after watching David Cronenberg's "Crash," she felt a strong attraction to his work. She was also inspired by the works of Dario Argento and Julia Ducournau's "Raw," which left a lasting impression. These films brought new emotions and depth to her perception of cinema, highlighting the diversity of approaches in the horror and psychological thriller genres.

Why Cinderella? In her youth, Blikfeld and her brothers watched the fairy tale film "Three Nuts for Cinderella" at Christmas, produced in Czechoslovakia and the GDR. This film was also very popular in the USSR. It was from there that both the plot and the timeless fairytale setting came, which continues to inspire many today.

Emily shares her impressions of Eastern European fairy tale films, emphasizing their uniqueness. She is drawn to the fact that these films are shot in real locations, creating a live-action effect. However, she pays special attention to the costumes and special effects, which look magical and surreal. This gives the films the atmosphere of a parallel universe, where reality and fantasy intertwine. Eastern European fairy tale films not only captivate viewers but also immerse them in a world of wonder and magic, making each story unforgettable.

The film "Sister" was filmed in the picturesque surroundings of Krakow, Poland, which gives it a special atmosphere. This location is perfect for a dark, yet fairytale-like plot with elements of drama. Magnificent mansions with empty, echoing rooms, majestic palaces, and manicured parks create a fusion of the Middle Ages, Victorian era, and decadence. This style is reminiscent of the works of Mark Zakharov, but with the addition of elements of blood and gore, making "Sister" a unique work in its genre.

Blikfeld revisited the original story, not the abridged version by Charles Perrault, but the dark and brutal version recorded by the Brothers Grimm. In this adaptation, one of the evil sisters cuts off her toe to fit into the slipper, and after Cinderella's triumph, doves peck out the sisters' eyes. This emphasizes the nature of folk tales, which often feature elements of body horror.

Emily once had a nightmare in which Cinderella lost her toes. This dream reflected her personal experiences: Blikfeldt has a size 14 shoe, and the filmmaker has always felt uneasy about this.

I woke up and realized that I had become that ugly stepsister, striving to live up to the idealized image of a woman. This desire is impossible, but it remains strong, because this is how one can hope for love and acceptance. However, only one Cinderella can occupy this place. The rest of us are like ugly stepsisters struggling to fit into the slipper. At that moment, an idea occurred to me: I could make a film about this.

The plan was ambitious: the budget for "The Ugly Sister" was 5.5 million euros, which is higher than the budgets of most debut feature films. This is clearly reflected in the quality of the work. Cinematographer Marcel Süskind created visually appealing shots, combining picturesque, dusky landscapes with bright, sugary pink hues. The soundtrack, composed by Norwegian artist Vilde Tuv, also stands out for its contrast: retro sounds are complemented by electronic and ambient tracks, which help the viewer not lose sight of the temporal context of the events. The film demonstrates a high degree of thoughtfulness in both visual and sound design, which makes it a striking example of modern cinema.

The Characters and Actors of "The Ugly Sister"

"The Ugly Sister" is a complex film in which fairy-tale characters have a deep and believable psychology. Director Blikfeld paid special attention to the choice of the actress for the role of Elvira, selecting five or six hundred girls for casting before settling on Lea Mirén. Thus, the film combines an interesting plot and carefully developed characters, which makes it attractive to viewers who appreciate quality cinema.

An actress with a wide range was needed, capable of giving the heroine both emotional depth and elements of absurdism, camp, and the grotesque. Miren, making her big-screen debut, meticulously prepared for the role, meditating on the theme of self-hatred. She even developed repulsive details for Elvira, such as her habit of biting her nails out of nervousness.

Agnes (Thea Sophie Loch Ness) is the antithesis of the traditional Cinderella. In classic fairy tales, she is presented as an ideal: beautiful, good-natured, and modest. However, in this story, Cinderella's image changes dramatically. She becomes the haughty heir to her father, who treats Elvira's bourgeois family with disdain. This approach to the character emphasizes the contradictions between appearance and inner qualities, creating a more complex and multifaceted character.

Agnes stands out for her stunning appearance: she is tall, slender, with regular features and magnificent blonde hair. These qualities were bestowed upon her as if she won the genetic lottery. Elvira, awkward and insecure, realizes she can never compare to Agnes. This understanding is present between them both.

Agnes isn't to blame—she simply decided to follow the rules of this world, realizing that success is on her side. In this moment, one senses that the director is still experiencing her own failures.

The director noted that she strives to demonstrate Cinderella's naturalness, which is what attracts the audience. The heroine feels no shame; she accepts herself and her sexuality. If she desires intimacy, she will not be embarrassed by this desire. In contrast, Elvira faces difficulties in her relationships and searches. The director also recalled her experience in high school, when she did not understand how her classmates found boyfriends, had fun, and enjoyed their bodies. This contrast between the characters emphasizes the importance of self-acceptance and freedom of choice.

Fairy tales often focus on unique characters like Cinderella, while the "ugly sisters" remain in the shadows. Their fates are often overlooked, and they are merely punished for their ill will. This not only highlights the contrast between good and evil but also raises numerous questions about the motives and inner lives of these secondary characters.

Rebecca, Alma and Elvira's mother, is one of the film's most terrifying characters. Although she means no harm to her daughters, her actions are based on a distorted understanding of goodness shaped by tradition. She is joined by a group of women, including a local ballet mistress and a nurse, who, although morally crippled by the existing system, willingly accept their roles. These women, succumbing to the pressure and manipulation of the system, sadistically reproduce their ideals in the images of young girls, thereby creating an ominous atmosphere permeated with cruelty and madness.

There is hope. The only person who is not involved in this mad race is the younger sister, Alma. She clearly understands the absurdity of what is happening and is horrified by Elvira's fate. "I would rather die than swallow a worm," Alma frankly admits. After this, she goes off to do what brings her true joy - caring for horses.

Ultimately, the younger sister will be the one who tries to save both herself and her sister. This is a small consolation and hope for a new generation that will be able to break free from the cycles of subservience to patriarchy. The younger generation has the potential for change and is able to break old stereotypes, creating a more equal society.

The work presents men who appear as primitive figures: they behave like animals, focused on food, physiological needs, and the desire to dominate women. The seemingly foolish prince, his obnoxious father, and the elegant but twisted plastic surgeon named Esthetique, whose motto is "Beauty is pain," all represent one-dimensional aspects of male nature. The only exception is the timid stable boy Isak, who isn't repulsive, but his role in the plot is minimal.

This approach is traditional for feminist cinema aimed at women. The prince's collection of poems is a fictional reality, like the other illusory dreams Elvira unsuccessfully tries to immerse herself in.

Beauty Practices in "The Ugly Sister": Fiction or Reality

It becomes disturbing to realize that some of the actions shown in the film are real procedures from history. These elements highlight the closeness of fictional events to reality, evoking deep emotions and reflections on the past in viewers. Films based on true events have the power to spark interest in historical facts and foster an awareness of the importance of studying history to avoid repeating the mistakes of the past.

This text refers to the sewing of lush eyelashes onto Elvira's eyelids, a metaphor inspired by the works of Italian horror master Dario Argento and Stanley Kubrick's film A Clockwork Orange. This expression emphasizes the character's unusualness and eccentricity, combining elements of horror and cinematic aesthetics. The images created by Argento and Kubrick evoke powerful emotions and create a unique atmosphere, making their works iconic. Every detail, from lush eyelashes to visual solutions, plays a vital role in creating the depth and layering of these works.

In the late 18th century, nasal septum correction was performed using a chisel. While the process wasn't as brutal as depicted in the movies, it was still quite painful, involving broken bones and cartilage. A hundred years ago, newspapers advertised braces similar to those used by the main character. Such methods highlight the evolution of rhinoplasty and the importance of technology in correcting nasal deformities.

Modern foot reduction surgeries are still available. These procedures involve the removal and filing of foot bones, which can cause chronic pain and negatively impact joint mobility. This procedure is known as the "Cinderella operation." The need for such interventions requires careful consideration, as the potential consequences can significantly impact the patient's quality of life.

Tapeworms were indeed used for weight loss, similar to how Ozempic is used today. Capsules containing the eggs of these parasites, imported from Asia, are now available online. For Blikfeld, however, the tapeworm represents more than just a weight-loss tool; it also serves as an important metaphor for deeper themes about health and human nature.

Elvira becomes a victim of the opinions of others, who impose messages on her: "You look wrong," "Do this," or even act on her behalf. However, when she decides to swallow the tapeworm egg, it becomes her first independent choice. The director emphasizes that this moment symbolizes her perception of objectification, as well as how she integrates these imposed ideas into her belief system and identity.

The film "Ugly Sister" focuses on horrific procedures, depicted in meticulous detail. Long, whitish, writhing worms become the camera's focus, creating a sense of immersion in bloody beauty practices. The director uses macro zooms to convey the horrific reality of the scene to the viewer. David Cronenberg's experience is evident in his approach to creating an atmosphere of fear and disgust. Instead of CGI, the filmmakers use complex makeup and high-quality practical effects, lending realism to the scenes and enhancing the visual impact. This makes "Ugly Sister" not only captivating but also a memorable work that leaves a deep impression.

Body horror evokes human vulnerability, emphasizing that we are made of flesh and blood. Emily expressed a desire to imbue her scenes with the complexity that is so dear to her. This is a genre that makes you think about the nature of the body and its perception, exploring the boundaries between human and animal, real and distorted.

What's Wrong with "Ugly Sister"

Emily Blichfeld's film came at the perfect time – after such successful projects as "Substance," "Raw," "Maxine XXX," "The Neon Demon," and "Suspiria." It continues the trend of making parable films devoted to the objectification of the female body. This film offers the viewer a unique perspective on topical issues and raises important questions about the perception of women in modern society.

"Ugly Sister" strives to combine a well-known fairy tale plot with deep psychologism, approaching the level of Dostoevsky, and transform a flat fairy tale into a three-dimensional perception. Cinderella's original message that true beauty lies within the soul is reinterpreted through the lens of patriarchy, unrealistic expectations imposed on women, and harmful practices. Furthermore, the film incorporates detailed body horror, highlighting complex reflections on beauty and its perception in modern society.

Film can't always encompass all aspects of a single theme. Elvira's story deeply explores the fate of a young woman subjected to social pressure and violence. However, the expansive metaphor sometimes becomes overly complex and distracts from the main message it seeks to convey.

Blikfeld's film raises important questions about beauty practices, but it goes beyond critiquing only their most extreme manifestations. It provokes reflection on how the manipulation of women's bodies is often dictated by male expectations. The film's portrayal of a successful Agnes-like Cinderella may be interpreted as a reference to the existence of a healthy body image, but it also opens a discussion about the diversity of body shapes and beauty standards. The film emphasizes the importance of self-acceptance and body image, emphasizing that everyone has the right to their uniqueness, regardless of accepted norms. The themes that "The Ugly Sister" could have explored are overshadowed by the gory and graphic scenes. These moments are overdone, and their purpose is to evoke a shocking "wow" in the viewer. However, their effect is somewhat diluted. The filmmakers clearly aimed to push the naturalism to the point of grotesqueness, but, paradoxically, this is thwarted by the film's deep psychological insight. The film is engaging not only for its visuals, but also for the internal conflicts that remain hidden. This creates a unique tension between the brutality and the emotional depth of the plot.

Blickfeld displays an excessive seriousness in his fictional characters, preventing him from fully letting go and immersing himself in the atmosphere of a bloody Guignol. This could have significantly increased the tension and impact on the audience. This seriousness also permeates the film itself, resulting in "The Ugly Sister" becoming not a terrifying and gripping thriller, but a moralizing, even preachy work. While the shocking scenes of self-harm for the sake of beauty may offend some viewers, similar elements can be found in any of the "Saw" films and other works in the genre. Rather than surprising and frightening, the film focuses on moral lessons, which may diminish its overall appeal to thrill-seeking audiences.

When viewers return to the screen, they'll see not only outstanding acting but also stunning visuals comparable to Yorgos Lanthimos's work in The Favourite. Furthermore, the film touches on important and relevant themes, adding significance and depth. This is particularly impressive and bold for a debut feature. As the hero of the classic "Cinderella" said 80 years ago: "I'm not a magician, I'm just learning."