It took more than 120 years for Charlotte Perkins Gilman’s most famous work to be adapted to the big screen satisfactorily. “The Yellow Wallpaper”, the movie, should become a cult classic and be appreciated by generations to come, as the shot story has been. More than telling a compelling story — and it sure does that — the film shows that horror doesn’t need monsters, vampires or other creatures to exist. The real horror may be being a woman in a patriarchal society.

Visually rich, with a stunning location, there is much to feast your eyes on in The Yellow Wallpaper, as well as having an effectively creepy aural atmosphere. An impressive feature debut from this filmmaking duo, retelling a story that has much to say to a contemporary audience.

“Pontuti and Loreth’s American/Irish adaptation of Gilman’s story is an undoubtedly faithful one. Apart from a strong artistic liberty taken in their interpretation of the novella’s ambiguous ending, THE YELLOW WALLPAPER even goes so far as to quote direct dialogue in order to preserve the original text’s darkly ironic effect. The filmmaking is stark and simple, the pacing patient and ominous. THE YELLOW WALLPAPER’s strength is in how vividly it portrays Gilman’s vision in living color.”

Read the full review by Grace Detwiler HERE

The Yellow Wallpaper is about a woman going mad because there is seemingly nowhere else to go. No one believes her depression or takes her mental health seriously, she’s often confined to her bed or chooses to be in bed so as to dream of something close to escape. Alexandra Loreth does an exceptional job of conveying this in terrifying and compelling ways. The direction by K Pontuti wrestles it all into a slow burn narrative that never stops feeling tense and uneasy. It’s a really terrific piece of work.

K Pontuti Press Image