"The World to Come": A Stunning Period Romance
Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.

A traveling gravedigger during an (unspecified) war adopts a orphan he finds alone in the desert. After the war with the orphan grown and business slow, the orphan begins to generate business himself by shooting people. The orphan wants to make one big score by robbing a bank but the gravedigger resists. Their dream is to open a fancy funeral parlor and cemetery. The orphan becomes obsessed with a prostitute he saw who was later abandoned by her outlaw partner after a robbery attempt on a gold wagon goes bad. He eventually leaves the gravedigger to find her
Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.
This is ambitious horror filmmaking, and in a lot of ways, I fully admire its ambitions. For me, the film’s sloppiness defines its overall quality.
Considering the runtime, I expected each scene to hit harder as opposed to a series of montages and vignettes.
After years of silence, trauma, and backlash, Rose McGowan tells her own story in this miniseries.
Animation as a medium of storytelling can be thought to be open to all ages and as I hope my readings will reveal, they could be interpreted as transgender stories.