100 Nights of Hero (2025)
Directed by: Julia Jackman
Premise: Set in a fairytale world, the prince propositions his friend (Nicholas Galitzine) to seduce the princess (Maika Monroe), thereby creating cause for a divorce. The princess’ attendant (Emma Corrin) tries to foil the plot by telling stories.
What Works: 100 Nights of Hero impresses in its filmmaking style. The movie recalls the period pieces of the 1970s such as The Devils and Pier Paolo Pasolini’s adaptation of The Canterbury Tales. The look of 100 Nights of Hero suggests medieval European society but with a heightened style. Sofia Sacomani’s production design and Xenia Patricia’s cinematography work together to create a fully realized world. The story of 100 Nights of Hero consists of a primary narrative in which the princess evades the advances of her houseguest and a secondary narrative in which her attendant spins a story of independent women who have learned to read which is forbidden in this world. Each narrative is distinct while also feeling of a piece with the whole. The themes of the attendant’s story bear on the events in the main narrative, tying everything together. 100 Nights of Hero is quite funny and its central characters are interesting. The princess is sexually ignored by her husband (it’s unclear if he’s gay or just neurotic) and the possibility of an affair is appealing but also dangerous; infidelity is a capital offense in this world. The would-be seducer is introduced as a Lothario but his attitude shifts as he realizes the truth about the princess’ marriage. The attendant’s efforts to distract the princess and her guest reveal a love triangle. The relationship between the three central characters is complicated and funny and the sexual tension is delicious.
What Doesn’t: 100 Nights of Hero is a feminist piece but its politics are trite and simplistic. The moviemakers interrogate the sexism so often found in traditional fantasy and fairytales but the critique is behind the curve. 100 Nights of Hero comes twelve years after Disney’s Frozen and the same year as The Ugly Stepsister and it’s not nearly as subversive as either of those films. The fantasy world of 100 Nights of Hero is ruled by a religious order that is clearly modeled on the Abrahamic faiths, especially medieval Christianity. Critiquing those faiths through such a lightly disguised stand-in comes across cowardly. The movie concludes on an act of martyrdom that is supposed to be inspiring. The crowd takes the women’s side but the story doesn’t work up to the change of heart and it doesn’t make sense. The film’s ultimate meaning is not nearly as revolutionary or countercultural as the filmmakers seem to believe it to be.
Bottom Line: 100 Nights of Hero is a stylish work of fantasy with impressive craftsmanship. It isn’t much more than that and its political ambitions fall short but filmmaker Julia Jackman is a promising filmmaker.
Episode: #1078 (December 14, 2025)