"She rushes out of the water-topless, shivering, limping-and Franck (Franck Sémonin), a local out for a stroll, leaps into chivalric action, giving the bare-chested woman the shirt off his back. Tending to her injury, he runs a credit card over her thigh in order to remove the venom lingering on her skin. In France on a residency to further her craft, Mia grabs the card from Franck's hand and wafts it under her nose-traces of lavender from her sunscreen, the metallic stench of blood, ocean brine."
"What begins as a "meet-cute" evolves into what co-writers Sarah Meyohas and Courtney Podraza-the former also serving as director-dub a "a constant power play" that tests audience limits for taboo sexual proclivities. As the title suggests, the Greek myth of Medusa (the French homonym for "jellyfish," a gorgon's serpentine tresses mirroring the invertebrate's tentacles) is directly channeled here, with aesthetic nods to decapitation rife throughout,"
A Swedish perfumer named Mia is stung by a jellyfish while swimming in the South of France and is aided by a local named Franck who gives her his shirt. A credit card is used to remove venom, and the exchanged card carries scents—lavender, metallic blood, ocean brine—that create an erotic olfactory bond. The encounter transforms into a sustained power play that probes taboo sexual proclivities. Medusa imagery recurs through jellyfish homonymy, serpentine tentacles, and decapitation motifs. The film emphasizes 35mm '70s porn-style cinematography while avoiding explicit genital display.
Read at Filmmaker Magazine
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