To quote Charli XCX, it really is so confusing sometimes to be a girl. The film industry seems aware of this reality, producing movies like Coralie Fargeat’s The Substance (2024), exploring self-hatred, or Marielle Heller’s Nightbitch (2024), tackling motherhood and female rage–both receiving rave reviews. And yet, fans of these movies have likely missed the hidden British film gem that is Alice Lowe’s sophomore feature Timestalker (2024) which expertly dissects the female experience with both spectacle and substance.

Timestalker is a glorious display of campy costumes, extravagant wigs, witty one-liners, and absurd situations. But, peeling back its hot pink packaging, you’ll find something quite haunting as the film subtly navigates the unique frustrations of being a woman, the sacrifices we make at the cost of ourselves, and our own parasocial tendencies.

The film follows Agnes (Lowe) who finds herself stuck in a seemingly endless cycle of reincarnation as she attempts to connect with the supposed love of her life, Alex (Aneurin Barnard). She’s joined by a colorful cast of characters (Jacob Anderson, Nick Frost, Tanya Reynolds) who either aid or hinder her attempts at true love. We travel through 1680s Scotland, 1790s England, 1840s Britain, 1980s New York, and into the future alongside the band of misfits as Agnes’ obsession with Alex grows. 

Agnes kickstarts the cycle by falling for Alex as a religious zealot eager to make a name for himself. It’s love at first sight, at least for her, and her accidental death provides an opportune moment for Alex to escape his demise. Thus, the film’s premise begins as Agnes repeatedly dies so Alex can live. 

As Agnes becomes more privy to what is happening, she becomes obsessed with being with Alex in whatever way possible– even at the cost of her own life. Agnes’ whole existence begins to evolve metaphorically and physically around her beloved. Meanwhile, Alex is much more obsessed with himself and his notoriety. Frankly, he couldn’t care less about Agnes’ infatuation with him. 

By the time we reach her final reincarnation in 1980s New York, Agnes is an all-out stalker.  Her bedroom is a shrine to Alex, she fights other fans for his litter, she cuts herself off from her one friend Meg, and she spirals into all-consuming obsessive madness. When given the opportunity to end the cycle, she fails to do so and allows Alex to continue to live while she resigns herself to the cards life (or rather lives) has dealt her.

I must confess I was especially stirred by Agnes’ overzealous behavior towards Alex and her delusions. Throughout all the lifecycles, she’s barely had a conversation with him and yet makes the ultimate sacrifice for him time and time again. As this transgressed, I sat in the audience feeling somewhat targeted. Here I was, having flown across the Atlantic to catch the film in theaters due to my infatuation with the actor who plays Scipio, Jacob Anderson. It is certainly an uncomfortable situation to see yourself reflected in the mania of Agnes’ behavior. 

To a lesser degree, most audience members may see a part of themselves in Agnes. Whether a musician, an actor, a fictional character, or even an athlete, we all have our own unique parasocial tendencies and infatuations with someone or something that consumes parts of us. Granted, hopefully, none of our hyperfixations are actually killing us like they are Agnes. They do, however, absorb our time, our money, and perhaps even our relationships. 

A less interesting film would focus on Alex and how the level of attention he had acclaimed inhibits him from living a normal life. Instead, the film challenges the viewer by forcing you into Agnes’ mind and seeing the world as she sees it. Lowe shared that she “wanted to tell a story that would force you into the perspective of a person who is typically reviled.” She offers a somewhat sympathetic look at those who engage in these parasocial behaviors and the impact it has. Despite her many flaws, you cannot help but feel a connection to Agnes and sympathy for her.

Even those who do not identify with this aspect of the film will likely relate to the sacrifices Agnes makes. There is a tendency for women to sacrifice parts of themselves for the patriarchy. We reshape our bodies, style our hair, fix our makeup, and silence our opinions all to be seen a certain way in our society. Agnes is the most extreme version of this as she quite literally provides the greatest sacrifice, her life, for a man who seems as if he could care less. Alex’s greatest desire is to be admired and Agnes is his most devoted–unfortunately, it is never enough.

But, we do not have to keep going on this cycle. As Agnes finally becomes enlightened about her sacrifices, she decides enough is enough. She defies the rules she’s been subjected to and revolts. No longer a slave to fate, she breaks free and is given another chance at life.

In many ways, Alice Lowe herself seems to have broken the cycle. Despite the small-scale nature of the film, it seems as though little sacrifices were made to bring this story to life. The film itself feels revolutionary and in a perfect world, more stories like this would be given the chance to be told. 

Lowe’s directorial debut, Prevenge (2016) starred a pregnant Lowe whose unborn child commands her to kill the people she believed responsible. Lowe doesn’t shy away from making the audience feel uncomfortable, rather through pregnancy horror or obsessive heroines, she continues to push boundaries for the type of stories being told– specifically about women– but her way of navigating this space feels uniquely singular. She crafts an idea of a film with its hot-pink aesthetic and dark comedic undertones that puts the viewer at ease before slowly descending into madness. As the credits roll and the laughter subsides, you’re left feeling somewhat disturbed.

I wrote about Timestalker previously as it had been my most anticipated and yet I could not even imagine the film that awaited me. It is a hilariously unexpected film that I find my thoughts returning to linger on as each day passes. Do yourself a favor and add it to your watchlist– perhaps even craft a parasocial relationship with someone from the movie while you’re at it. I know I will, after all, I’m just a girl.

Review Courtesy of Kamryn Ryan

Feature Image Credit to Vertigo Releasing via IMDb