Subverting Patriarchy: a feminist review of Frankenstein (2025)
A Cinematic Resurrection
In Frankenstein (2025), director Lydia Morales breathes new life into Mary Shelley’s iconic narrative, crafting a visually stunning and thought-provoking spectacle. It’s a cinematic achievement that revitalizes the familiar tale with both reverence and audacity. Set against the chilling backdrop of a dystopian future, Morales deftly combines atmospheric suspense with social commentary, inviting viewers to reconsider the essence of humanity in a world shaped by technological hubris. The film’s aesthetic is its heartbeat – the moody, haunting landscapes and evocative, almost tactile, sound design collectively create an immersive experience that demands emotional investment.
However, what truly impresses is how Morales has infused the film with a profoundly feminist recalibration, where the narrative shifts focus to illuminate the voices and agency of its female characters. Rather than relegating them to marginal roles or romantic accessories, Frankenstein (2025) positions women at the core of its story, challenging patriarchal conventions with unyielding clarity and intimate subtlety.
Subverting Gender Norms
One of the film’s greatest triumphs lies in its audacious approach to character dynamics. The tale of creature and creator now discovers its pulse through the interactions and transformations experienced by its female characters. The character of Elizabeth Lavenza has been reimagined with depth and complexity by Morales, evolving from a passive figure to a formidable force all her own. Elizabeth is portrayed with fierce intelligence and remarkable agency, actively shaping the narrative rather than serving as a mere pawn in Victor Frankenstein’s tortured quest for godhood.
Elizabeth’s dialogues with other women in the film are revelatory in their breadth and substance. When she converses with Justine – no longer a sidelined victim but an astute and perceptive character – their exchanges transcend mere plot mechanics. They explore ambition, personal sacrifice, and ethical dilemmas in ways that organically propel the story forward while enriching its thematic fabric.
The film also challenges the traditional mad-scientist trope, previously reserved for male domains, by giving Elizabeth a co-creator role. Her intelligence and curiosity meet no dismissal, embodying a bold challenge to patriarchal notions that genius and ambition are exclusive preserves of men.
Motherhood and Creation
Morales also intricately weaves themes of motherhood and creation into the film’s narrative tapestry. The metaphor of the created creature as a child seeking acceptance challenges established norms around the sanctity of biological parenthood. Here, the act of creation is not confined to procreation but broadened to encapsulate the responsibilities and ethical considerations of bringing a being into existence.
Elizabeth, in her dual capacity as a lover and a creator, grapples with her duty towards the creature. This mirrors the complexities of modern motherhood, where the act of nurturing necessitates profound emotional labor unrecognized in patriarchal discourse. The film’s nuanced narrative questions the fetishization of motherhood while upholding women’s right to define their own paths and their complex relationships with creation.
Crafting Intimacy and Rebellion
The interpersonal dynamics of Frankenstein (2025) demonstrate the film’s commitment to evolving beyond patriarchal frameworks. The traditional narrative’s emphasis on the isolated male genius is diluted, as Morales carefully crafts moments of genuine intimacy and rebellion within the polyphonic interplay of her characters. The complex ties between Elizabeth and Victor unfold through shared vulnerabilities rather than monologues or grandstanding gestures, undermining the distant machismo traditionally inherent in the genre.
The film’s portrayal of the creature itself moves beyond the archetypal Frankensteinian ‘other.’ Through an empathetic lens, it invites discourse around human connection and societal alienation. By allowing the creature and Elizabeth to meet on emotive and intellectual grounds, Frankenstein (2025) proposes a radical idea that bridges the gap between creator and creation.
Conclusion: A New Dawn for an Old Tale
Ultimately, Frankenstein (2025) is an incisive re-examination of an age-old tale, swinging open the doors of interpretation to embrace feminist principles without sacrificing the narrative’s dramatic essence. Morales’ ability to maintain the film’s emotional core while simultaneously interrogating systemic gender biases is nothing short of miraculous.
With breathtaking cinematography and a nuanced script, the film secures its place as a triumph in adapting classic literature to modern sensibilities. It melds artistry with advocacy and offers a potent reminder that storytelling, at its best, can both entertain and transform. Lydia Morales not only reclaims the narrative but also firmly establishes that feminist rewritings are not just about placing women in pre-existing roles but reimagining and reshaping the very foundations of storytelling itself.
