THE STYLIST: A Haunting, Stunning Debut

From the very start of The Stylist, it’s a sensory experience. As we are first introduced to Claire (Najarra Townsend), she’s a quiet hairstylist, working on an out-of-towner’s hair. Even from this opening, before the movie tonally shifts into darker territory, there’s a sense of care taken with each precise stylistic choice. Claire engages, asking about the young woman’s life, who is more than happy to share. While she moves her hands gently through her hair, there’s something deeper at play, looming behind Claire’s lonely eyes. She’s on another plane, in another place, both loving her profession and her more insidious intentions.

It’s an inviting place – I could easily see yourself at ease here, but, you’d be in danger of losing your head (or rather, your scalp) as Claire soon, in wonderfully gruesome fashion, removes it from the woman’s head.

Enter, The Stylist, in all its flair; a truly stunning piece of filmmaking from Jill Gevargizian, who had previously shown her chops in the 2016 short film version, but who really carves her place in horror with the feature.

Wanting Another Life

In a heartbreaking way, Claire’s lonely life, with her beautiful clothes (as muted as they may be at times), often shelter this kind, unexpectedly angry soul. The costumes and hairstyles are all gorgeous – as an aside – and from there to the home, she shares with her dog, where she unpacks her less beautiful tendencies, is one that stays with you. Down in her cellar, akin to her inner demons, is where she keeps her collection, her trophies. The delightfully designed lair of sorts is complete with a vanity and a display of “wigs” from her victims. It’s perfectly lit, distinguishing the level of practice this young killer has established, along with the well-crafted illusion she’s spun. When she puts them on she adopts their speech, expressions both physically and vocally, becoming them even if it’s just for a few moments.

It’s very The Talented Mr. Ripley in its display of isolation and the desire to be someone else, or at least, mean something to another.

There’s a stellar performance from Najarra, who manages to transform this serial killer into someone you sympathize with. To create a lead like that isn’t easy. This occurs in The Stylist because of the commitment of the role, but also because of the wonderful writing by Gevargizian, Eric Havens, and Eric Stolze.

When she’s asked to do a wedding, something she never does, by client Olivia (Brea Grant), she’s thrust into a new kind of relationship she hadn’t planned for. The film then takes a new approach giving us a dual look at the two women, mirroring their differences. When Claire’s invited to a bachelorette party, and to her house to see her wedding dress, she feels needed, wanted, but also even more isolated than ever. As a viewer, we know, Olivia’s intentions aren’t how Claire would like them to be. The attempt at friendship feels uneven, and soon Claire becomes obsessed with Olivia, especially when she doesn’t hear from her.

Claire has managed to pack everything within herself into this cellar, and when it’s unleashed, it’s at least energy expended, and she can move on (for a time). However, when she comes into this new situation, she’s unsure how to react. It is like it internalizes in a way that makes her even more dangerous, and even more reckless. While this uncomfortable dynamic is going on, Claire still feels the growing desire to let out her rage. This explodes onto some unexpected women she comes across, emphasizing both the anger and embedding a sense of discomfort as we watch. Somehow, yet, we root for this to be it for her. Maybe she can finally stop, make connections, and find some semblance of peace.

Throughout the film, there are a lot of nods to horror’s past. I thought that each of the homages are paid in a way that remained noticeable, but didn’t define the finished product. It’s a film lavish with blood, yearning, and an underlying creepiness that comes with each slice. I adored its brazen approach, and I thought that the end culminated perfectly with its gory finish. The fact that Gevargizian is able to make a pretty feature while maintaining something ultimately disturbing, is a real treat.

As a horror fan, one gets exactly what they want of the film with just enough thrills to sustain. There may occasionally be some focus lost, but I think it ties well into our lead’s mental instability. She’s hanging on such a thin strand, that the nuances are not only seen but felt. Her sadness is an undercurrent throughout, making Claire one of the more fascinating leads of recent years to grace the horror-screen.

Conclusion: The Stylist

The Stylist has everything one can want from a horror film; a talented female lead, lots of chills and bloody enticements, and a wickedly impressive style.  Jill Gevargizian is a director to look out for, and the cast, filled with some of the best female talent working in horror, pave the way for an amazingly deranged time.

Have you seen the Stylist? What are your thoughts? What are some of your favorite films featuring serial killers? Let us know in the comments below!

Watch The Stylist