Why You Should Watch 'Men' Despite Its Intense Challenge

Alex Garland, known for directing 'Ex Machina' and 'Annihilation,' presents a hauntingly beautiful body horror film that retains profound social commentary.

On June 23, the global audience will experience Garland's latest film, 'Men.' This marks his third feature-length directorial work, complementing his role as the director of all episodes in the series 'Devs.'

From his debut with 'Ex Machina,' Garland has been embraced by fans of auteur cinema. As both writer and director, he often explores dystopian sci-fi themes infused with pressing contemporary issues.

In 2020, 'Devs' polarized viewers: some hailed it as Garland's stylistic pinnacle, appreciating its slow pace and rich scientific detail, while others felt it was a six-hour display of his expertise in quantum computing.

Seemingly responding to this feedback, 'Men' tackles similar themes but adopts a more straightforward approach. Notably, this is Garland's first film where the narrative doesn’t revolve around science or speculative fiction.

Instead, Garland crafts an immersive experience where the audience’s emotional response is as significant as the storyline. Throughout the film, he provokes a spectrum of feelings—from humor and empathy to disgust—challenging viewers continuously.

'Men' Explores Urgent and Intense Societal Issues

Following the tragic death of her husband, Harper (Jessie Buckley) retreats from the bustling city to a serene countryside estate, seeking solitude to heal and reflect. The estate's owner, Geoffrey (Rory Kinnear), appears friendly yet somewhat intrusive. However, Harper's encounter with a mysterious stranger soon turns the story dark and unsettling.

Garland’s films frequently center on female protagonists confronting a patriarchal world. While 'Ex Machina' ostensibly focuses on a programmer and an android, it fundamentally examines how two men test Alicia Vikander’s character’s authenticity. 'Annihilation' features female scientists confronting extraterrestrial phenomena after military men fail. Even in 'Devs,' a woman uncovers secrets within an IT company's clandestine division.

In 'Men,' Garland explicitly addresses society’s toxic masculinity, entwined with themes of victim-blaming and the quest to break cycles of misunderstanding and violence.

To deepen this theme, Garland employs a unique technique: all male characters, except Harper’s deceased husband, are portrayed by Rory Kinnear. For Harper, these men are literally indistinguishable, a concept evident from the film’s visuals.

Kinnear’s transformative performances go beyond makeup and CGI; each character embodies distinct mannerisms and backstories crafted by the actor himself to enrich their authenticity. His portrayals range from the affable Geoffrey to a sexually obsessed priest, the latter evoking one of the film’s most emotionally charged scenes.

Notably, Jessie Buckley contributed to the priest’s dialogue, lending an authentic and raw edge to the unsettling exchange.

This pivotal moment delves into guilt and the normalization of violence. Garland’s choice of a rural setting is deliberate: Harper’s single act of aggression from her husband ended their relationship, yet she moves from a progressive city to an environment where male violence against women is often dismissed as trivial, provided apologies follow.

As the narrative unfolds, it becomes clearer that the events metaphorically represent Harper’s internal trauma. Despite Kinnear portraying multiple men and Buckley a single character, Harper symbolizes countless women trapped in similar circumstances.

A True Horror Experience, Sometimes Uncomfortably So

Though Garland’s previous works leaned toward science fiction, 'Men' is firmly rooted in horror. Fans familiar with his oeuvre know his knack for fear: before directing, he wrote scripts for Danny Boyle’s '28 Days Later' and 'Sunshine.' 'Annihilation' also features profoundly terrifying moments, such as the appearance of the 'bear,' surpassing many classic horror films.

With 'Men,' Garland embraces the elevated horror subgenre, blending dark drama with folklore elements. This positions the film closer to Robert Eggers’ 'The Witch' and 'The Lighthouse' than to 'Ex Machina.'

The film’s opening third carries a subtle irony. For instance, during a forest walk, one might expect a director like James Wan to insert multiple jump scares. Garland, however, builds tension gradually, occasionally lightening the mood with humor. When the horror intensifies, viewers’ nerves are already taut, evoking comparisons to Roman Polanski’s 'Repulsion' and his apartment trilogy. Even Harper struggles to discern reality from nightmare, though this ambiguity is secondary.

While the narrative is straightforward, the horror is richly metaphorical. Garland weaves numerous mythological references beyond the obvious religious symbolism. For example, Harper’s unasked-for apple from the garden hints at biblical allusions. More intricate is Kinnear’s character resembling the folklore 'Green Man,' a figure commonly depicted in English pubs.

This character is arguably the film’s most ambiguous, possibly less threatening due to his connection with nature.

However, viewers seeking a merely stylish thriller will face a brutal test. By the film’s climax, Garland channels a Lars von Trier-esque intensity reminiscent of 'Antichrist,' fusing religious and mythological motifs with visceral body horror that challenges even the strongest stomachs.

The final scenes may provoke anger, as Garland seemingly forces audiences to confront repulsion and shame. This deliberate discomfort serves to evoke the emotional trauma experienced by Harper and many women alike.

Yet the Film Remains Visually Striking

Despite the body horror’s intensity, 'Men' is visually exquisite. Garland’s direction is elegant and atmospheric, a trait praised even by critics of 'Devs' for its stunning visuals. The film’s relative narrative simplicity highlights two facets of his talent.

Garland masterfully captures outdoor scenes, showcasing the natural beauty of Gloucestershire, England, where the film was shot. His framing references auteurs like von Trier—known for beautiful yet unsettling imagery—and Tarkovsky, whose influence is evident in the frequent use of reflections in water and glass.

Garland himself likens 'Men' to a mirror, inviting viewers to interpret its messages personally, echoing Tarkovsky’s reflections on his film 'Mirror.'

Ironically, the film’s enchanting natural settings harbor hidden dangers, prompting Harper’s swift escape from the forest. Garland also excels at confining characters in claustrophobic spaces, intensifying a sense of entrapment. His debut, 'Ex Machina,' similarly utilized limited locations and a small cast of four.

Alongside his consistent creative team—including production designer, decorator, and cinematographer—Garland transforms the estate into one of horror cinema’s most unsettling settings. The exterior’s soft tones contrast with the interior’s red hues, each room imbued with unique ambiance and symbolic details. As the story reaches its climax, the once-beautiful home becomes a prison, with the camera relentlessly tracking Harper’s frantic movements.

A standout moment is the tunnel scene, where perfect symmetry, reflections in puddles, and echoing sounds converge. From here, sound design becomes as crucial as visuals, blending choral music with diegetic sounds to heighten tension.

Garland’s deliberate pacing allows extended focus on characters’ expressions, with slow-motion sequences turning moments into visual poetry. Nearly until the finale, 'Men' captivates with its cinematography before shattering its own beauty with unflinching body horror, rejecting any romanticization of trauma.

'Men' is not for every viewer. Garland intentionally crafts it as a challenging experience, presenting his ideas bluntly and evoking varied reactions—from laughter in uncomfortable moments to eyes tightly shut, or complete captivation.

Regardless of initial responses, the film leaves a lasting impact. Its relevance is undeniable, as the words spoken by Harper’s male encounters echo in countless discussions about relationships. The emotions portrayed resonate deeply with anyone who has faced toxic individuals. Garland not only depicts these feelings but compels the audience to viscerally experience the trauma—a discomfort that is both necessary and profound.

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