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Alice Lowe<\/a> was the writing\/acting force behind the incredibly dark and murderous comedy Sightseers<\/em><\/a>, directed by Ben Wheatley<\/a> that sent excitable ripples through BFI LFF in 2012. The format here for new slasher-comedy Prevenge<\/em><\/a> is not much different in terms of style. It\u2019s another great showpiece for Lowe\u2019s acting talents in a directorial debut, while boldly using the serious subject of antenatal depression as its emotive vehicle.<\/p>\n It also helps that Lowe was pregnant at the time of making Prevenge<\/em>, rendering it a highly intriguing exploration for those with any such experience of this illness. By using the jet-blackest of comedy, Lowe draws much-needed attention to the condition, forcing us to confront its reality – very astute filmmaking indeed.<\/p>\n Lowe plays pregnant Ruth, virtually full-term but grieving a life-changing event that gradually comes to light. Along the way, she encounters an array of prejudice from a variety of people, dealing with it in her own murderous way, supposedly spurred on her unborn child\u2019s voice from within.<\/p>\n Sometimes the touchiness subjects are best dealt with comedy. Lowe guides us throughout this tricky terrain with her usual deadpan, vacant stance, turning everyday remarks \u2018those with child\u2019 encounter into the ridiculous and hence, justifying Ruth\u2019s reactions. The first couple of vile victims get their \u2018just desserts\u2019, with the inappropriateness of the opening scene dialogue only (brilliantly) registering after a minute, much like in a real-life abuse situation where disbelief turns to horror then to anger at being made the unwilling recipient.<\/p>\n Lowe never allows us to pigeon-hole Ruth quite so easily though, keeping her varied and unpredictable \u2013 the only given is she\u2019s finding pregnancy tough and will have her baby girl in the end. Ruth is both entertaining as she is shocking in behaviour. Lowe nails the internal thoughts any expectant mother has had when faced with \u2018sympathetic\u2019 healthcare professionals and those believing motherhood is a woman\u2019s natural urge. This is where Ruth\u2019s character lays the vital foundations for us to empathise with her. She is consumed by grief and feeling alienated, walking alone towards the inevitable in a comatose state. These are powerful character traits that could have been further explored though.<\/p>\n The production values do place Prevenge in the low-budget, B-movie bargain bucket, and while favouring sobering muted tones and unfocused camera moments to reflect Ruth\u2019s state of mind, also dwell too much on some of the kills as to lessen the of the significance of the illness Ruth is displaying. Lowe only manages to claw this back by getting some superb acting moments out of her supporting cast \u2013 such as Jo Hartley<\/a> as Ruth\u2019s chirpy midwife, even though most characters are painted as caricatures on the whole. Yet the unpolished production values also serve well to mirror an imperfect mental state, so it\u2019s questionable whether any other way (and bigger budget) would have worked better.<\/p>\n Prevenge<\/em> is a fascinating take on the female killer, as society still battles with \u2013 and disbelieves that \u2013 women do kill. Antenatal depression might give the intent and some might question using this subject in a nonchalant way, but only by Lowe\u2019s bold filmmaking does it become accessible and open to debate. Lowe delivers an entertaining and thought-provoking directorial debut in her own unique style that could have gone deeper, but that can only be praised and built on in her next project.<\/p>\n 3\/5 stars<\/strong><\/p>\n By @FilmGazer<\/p>\n