Instead of a theory of what really transpired in the death of Meredith Kercher, and what role if any was played in that by Amanda Knox, The Face of an Angel comes at us as a deconstruction of how the media represents such a story. But it ends up being something much different, and this viewer finds himself gnawing on tricky questions of how men represent women in life, literature, and cinema, rather than anything about the media’s relationship with its readers and audiences.
Centred on a fictional film director’s journey through hell, purgatory, and heaven, the story structure is explicitly modelled on Dante’s Divine Comedy. By moving the scene of the crime from Perugia to Siena, a connection is made with visual directness to Dante’s own time and environs. The hell sequences include decontextualized scenes of rough sex between the director (a convincingly obsessive Daniel Brühl) and a journalist (a smoothly professional Kate Beckinsale)—enough to make us wonder whether we are looking at an assault—but with no discussion after the fact between the principals. (Leaving one to wonder—you show me a man inflicting pain on a woman during sex, and we’re to understand it’s the man who’s in hell?)
Our director-protagonist’s next would-be Beatrice is a fresh and spontaneous young university student and waitress (Cara Delevingne, brilliant casting move), and it is through a rather more platonic relationship with her that he has a hope of gaining a more central insight into this story of murder.
Winterbottom has given us a film of layered complexity that ultimately argues that the worst thing about the did-she-didn’t-she debate about Amanda Knox is that it has robbed the real-life victim, Meredith Kercher, of central status in the story. But does this side-on approach to the material risk doing the same thing in a different way? I expect that will be the most debated point as people dissect this film.