I have watched the whole film, thinking the story will get interesting in the second half. But it was a free fall from bad to worse.

The story (especially the conclusion) was a bit lackluster, but it made up for it in style.

This movie is not for everyone it's like going to an art modern museum you could like it or hate it and sometimes you could also do not understand it at all. Took me a while at the beginning to understand it , but when I got it , my gosh it was decadent and funny and so caricatural finally I loved it !

Just a boring and unsatisfying experience

Not nearly as stylish as it would seem to be the case and definitely not thrilling enough either.

Em um concurso regional de cabeleireiros, um dos competidores é encontrado morto e escalpelado. A competição é suspensa, os outros competidores, modelos e pessoas da produção ficam no local para dar depoimento. Enquanto isso, vários segredos são descobertos, enquanto tentam descobrir quem é o assassino. Thomas Hardiman constrói todo o filme em um plano sequência, com a sua câmera seguindo algum personagem, quando ele se movimenta pelo local do concurso. O espectador se torna o detetive, pois ele acompanha todas as rodas de conversa dos personagens. E quando um sai, ele já o acompanha. O roteiro tenta desviar a atenção dos espectadores, jogando sua atenção, em ou outro personagem, porém logo no início, o assassino é entregue. No final, é um bom filme de detetive, passado no mundo brega de competição de cabeleireiros, que criam penteados e esculturas com os cabelos das suas modelos, impraticáveis, apenas por uma duvidosa estética. Como os próprios personagens bem interpretados, mas sem um grande destaque para nenhum, que estão no limiar ou são totalmente bregas nas suas estéticas pessoais.

difficult to look away from-ambitious, extravagant, and original. among the most outstanding directing debuts ive seen in recent memory.

Ocurre un inesperado y extraño asesinato en un concurso de peluquería dónde los concursantes (peluqueros y modelos) tratan de averiguar al culpable en una noche llena de drama y extravagancias. PEINES DEVASTADORES Gran debut de Thomas Hardiman con "Medusa Deluxe", dónde podemos ver un plano secuencia inacabable, bueno hasta que la película termina, sin llevar al hastío al espectador sin dejar de entretener. No me hace mirar la hora si no es para rebobinar mágicamente y volver a empezar ya que no he notado larga la proyección. La dificultad de crear esta escena infinita no es sólo gracias al director, sino también del cámara, esos recorridos de pasillo enfocando por detrás y por delante en diferentes momentos, muy bien sincronizados, a estos personajes tan compuestos y pintorescos a la vez. El guión me convence tanto cómo el afable trabajo de fotografía de Robbie Ryan, ambientada también de noche que ya sabéis cómo me encanta, dándole un toque siniestro y curioso a la historia. Muere uno de los esperados ganadores del concurso de peluquería, Mosca (John Alan Roberts), aparte de su muerte, su pelo es arrancado, sin ningún motivo, él era pareja de Ángel (Luke Pasqualino), un personaje cuyo papel acoge un protagonismo increíble en la conclusión de la historia, aunque me interesaba también y mucho esa peluquera llamada Cleve (Clare Perkins), tan excéntricamente transparente y agresiva verbalmente (con un aire al personaje de Roy Kent, Ted Lasso, interpretado por Brett Goldstein), pierde su protagonismo en la mitad de la historia, sin duda el mejor momento de la película es cuando se pelea con Kendra, otra de las peluqueras. Luego vemos a Patricio (Nicholas Karimi) que lleva algunas riendas de la historia desde las sombras. Cuando aparece, relativamente poco, pasa desapercibido estando a la vista de todos. Se presencia tensión cuando aparece ese tal Grec (Heider Ali), ese extraño vigilante de seguridad; apariencia amenazadora y árida, aún así sabía desde el principio que era un sensiblero. Me interesa y me late el corazón muy rápido cuando él desaparece de la pantalla, la música hace bien su trabajo. Le juzgo negativamente y quiero ver qué esconde. Al final logra que el espectador empatice con él. Medusa Deluxe destaca más en la originalidad de los personajes forzando sus estilismos y el campo en el que está recreado, aunque el desarrollo del misterio es eficaz e interesante. Es un whodunit que persigue y alcanza la extravagancia desde un punto de partida simple donde todo va rápido pero suave con momentos magníficos de tensión ya comentados antes y con un humor ágil y grotesco el cual acojo encantado y feliz sabiendo lo difícil que es ahora sentir esas emociones. RICARDO VALERO, AGOSTO 2023, ESPAÑA.

Well, what can I say?! It's a very odd movie. The filming itself is absolutely marvelous and captivating, giving the impression of a Non-stop shoot (of course there are cuts which anybody with a good eye can spot), following the different actors from room to room and corridor to corridor, sometimes with frontal takes, other times just following them from behind. Unfortunately the movies story/script is absolutely non-expressive. IT SIMPLY SAYS NOTHING AT ALL! It's supposed to be a thriller, but it is not, NOT AT ALL! You surely know this kind of story that just fills 90 minutes with senseless Blablabla, not boring enough to make you leave, but at the end you ask yourself why you didn't, as you just wasted two hours of your life!! That's the feeling you get, and nothing else. Needless to say that one easily nods of repeatedly, especially as the director did not pay his electricity bill, keeping the movie dark for most parts. So I can only give this flick 2/10 points, and those only for the good shooting, and nothing else..

Péssimo filme e péssimas atuacoes. De um amadorismo gritante. Deveria ter uma lei proibindo filmes tão ruins rs.

Writer-director Thomas Hardiman's debut is an original and strangely compelling murder mystery set in a regional hairdressing competition in Northern England. When one of the competitors is found dead with his head scalped, speculations and suspicions grow amongst the other hairdressers and the models in the aftermath as they circulate within the industrial labyrinth of corridors, staircases and dressing rooms they find themselves unwittingly confined in. Seamlessly melding his long takes together into a film that looks like it was shot in one single take, essentially by alternating between talking and walking scenes to propel the film from one place to the other, Hardiman is in showing off mode but this also lends the film a tight, rhythmic pacing as the narrative unfolds in real time, accompanied by a sparse, pulsating and eerie score that would have worked just as well for a serial killer movie. Whatever you think of the ending, and some will find it too frothy, his screenplay demonstrates an appealing campy sense of humour and a knack for quality banter that drives the plot forward and keeps the film's momentum going while a mostly unknown but familiar-looking cast proficiently delivers the red herrings and other distractions. Even though I wouldn't have mind if the film drops the one-take premise for the final scenes for a clearer explanation of its ending, you have to admire its moxie for sticking to its gun all the way to the bitter end. Of course, this is merely just silly, frivolous fun but it's also a technically accomplished film and a great calling card for Hardiman who shows promise, confidence and enough artistic flair to finish with a cheeky disco number that could be as much a tribute to Claire Denis as it is to Mamma Mia the Movie.