Owen Gleiberman Chief Film Critic“Mona Lisa and the Blood Moon” opens where any good stylishly ironic demon-out-of-water fairy-tale thriller should: in an insane asylum.
That’s where Mona Lisa (Jeon Jong-seo), a catatonic waif, is seated on her knees in a straitjacket. We see right off how miserable she is; it’s there in her aura — and besides, who in her situation wouldn’t be?
Then a gabby, sneering attendant walks into the room to trim the girl’s nails and pelt her with insults. The way the scene is shot, we feel the gathering of Mona Lisa’s repressed energy; we’re all but expecting an act of violence.
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