PR in the Philippines

(SeaPRwire) –   It feels fitting that Diablo Cody’s name is associated with Forbidden Fruits. While Cody did not write the film, it is adapted from the provocatively titled play Of the woman came the beginning of sin, and through her we all die by Lily Houghton, which was loosely inspired by Houghton’s experiences working at a bohemian retail chain. Meredith Alloway directed the film, marking her transition to feature filmmaking after a series of successful short films. However, Cody, who served as a producer on Forbidden Fruits, also wrote Jennifer’s Body, a film that paved the way for movies like Forbidden Fruits.

Forbidden Fruits is part of a growing subgenre of horror films that explore femininity and feminine aesthetics, recently termed “girl horror” in Rue Morgue magazine. This subgenre has gained traction in the late 2010s, coinciding with a greater presence of women in the horror genre, both as fans and creators, in what was once a predominantly male space. Concurrently, critics began to re-examine Cody and director Karyn Kusama’s 2009 film, establishing them as pioneers for a new wave of unapologetically “girly” horror films such as Raw (2016) and Promising Young Woman (2020).

Alloway’s work aligns with this tradition; her 2019 short film, Deep Tissue, for instance, uses themes of cannibalism to examine body image and sexuality against a backdrop of flowing pink hotel curtains. Visually, Forbidden Fruits presents a slightly sharper aesthetic, embedding its “girlypop” sensibility within the minimalist style of 21st-century retail. This creates an effect akin to a dazzling set of long acrylic nails—whimsical and feminine, yet also hard and sharp. The film certainly unleashes its sharp edges through its dialogue and, later, in a couple of gruesome sequences that escalate the characters’ cattiness to startling new levels.

The only aspect of Forbidden Fruits that feels anachronistic is its setting in a mall, an establishment that has largely vanished from most North American cities. Specifically, the film is set in a suburban Dallas, Texas mall, where the dominant figure, Apple (Lili Reinhart), and her employees and confidantes, Cherry (Victoria Pedretti) and Fig (Alexandra Shipp), manage the Free Eden boutique with an iron grip, conveyed through their stylish vinyl attire. Their manager, Sharon (Gabrielle Union), is present because the previous young woman to be part of this inner circle—the unfortunately and whimsically named Pickle (Emma Chamberlain)—experienced a breakdown and was hospitalized following a conflict with the group.

Consequently, Free Eden is hiring, and the ambitious Pumpkin (Lola Tung) secures the position after demonstrating she is far too attractive and cool for a pretzel stand. Her name, reminiscent of an autumn fruit, also proves advantageous, as Pickle’s departure has created an opening within the coven of witches that Apple and her friends convene in the Free Eden dressing room after hours. The film’s witchcraft scenes perfectly encapsulate the blend of light and dark that defines Forbidden Fruits: while the potion Pumpkin must consume for her initiation is brewed in a sparkly cowboy boot, it also contains human blood.

Some of the film’s edge stems from its characters: the relationship between Apple and Cherry is depicted as abusive, with Apple manipulating Cherry into believing she is too unstable to make even minor decisions. Fig, who holds a physics degree before working at Free Eden, is more cautious and independent. However, she remains complicit, concealing her relationship with her boyfriend to avoid upsetting Apple’s obsessive need for control over the coven. The film cleverly satirizes these toxic dynamics by framing them with cheerful slogans about “girls supporting girls,” prompting questions about the nature of healthy friendships for the film’s target audience of young women.

Towards the end, Forbidden Fruits transitions from a campy, character-focused witchcraft narrative to a slasher film, complete with a classic slasher twist. This shift represents the film’s primary weakness, as by the time it introduces its stalk-and-murder sequences, it is too late to effectively build suspense. Had this transition occurred earlier, the film, and its audience, might have had more time to adjust to this new horror style. Regardless, the extravagant set pieces that punctuate this part of the movie are as over-the-top as the outfits the Free Eden employees wear to assert their dominance on the sales floor and in the food court.

Featuring a well-chosen ensemble of emerging young actors who deliver the sharp, comedic dialogue with apparent ease, Forbidden Fruits is highly relevant to contemporary culture. Reinhart’s performance is particularly noteworthy, evolving from intimidating to terrifying, imbued with the subtle pathos essential for a compelling horror villain. All involved, from the cast to the costume and set designers, fully embrace the film’s distinct sensibility, which may not appeal to everyone. However, for teenage girls discovering horror or adult women who wish such films had existed during their youth, both the concept and its execution will resonate strongly. While you might not be invited to join their clique, you likely wouldn’t want to anyway.

Forbidden Fruits premieres in theaters on March 27, distributed by Shudder and Independent Film Company.