Die Verdorbene (A Rotten Woman)

Alice, a kindergarten teacher, maintains a perfectly structured life – until she discovers tiny mushrooms growing on her body. How can she get rid of these imperfections? Should she get rid of them? In Die Verdorbene (A Rotten Woman), writer/director Niamh Sauter-Cooke crafts an effective and nuanced metaphor about women’s relationship with their bodies, with the high-concept premise adding a layer of body horror.

“Like ghosts, mushrooms hover somewhere between life and death”

Sauter-Cooke cites mushrooms as “the starting point for the film,” admitting, “I’ve never liked them and even had nightmares about them as a child”. She explains that the film “began as a way of exploring both my irrational fear of mushrooms and my relationship with my own body”. These are the two themes that she blends in her narrative, creating a genre story with depth. “Like ghosts, mushrooms hover somewhere between life and death, a symbol of decay – and of the new life that follows. The perfect subject for a horror film”, she shares, before confessing that through the research process, her fear of mushrooms transformed into fascination.

Carefully crafted, A Rotten Woman immerses us in Alice’s world through the collaboration of Sauter-Cooke and DP Janne C. Ebel. Nothing is out of place – from the set design to the costumes and the color palette – with each frame echoing how Alice controls every aspect of her life. When the mushrooms start appearing, they upset that almost perfect visual balance, signaling a beginning to this loss of control.

“It was challenging since none of us had ever done anything like this before” – Sauter-Cooke discussing the use of practical FX in her short.

The genre layer of the film is so incredibly effective, it made me squirm in my seat. For those of you who can’t watch videos about skin conditions, maybe look away! Carsten Aschenbruck, who is responsible (for the SFX and makeup), created every single mushroom that grows on Alice, resulting in visuals that may be a bit too realistic for the faint of heart. Sound designer Anders Wasserfall also enhance the body horror element of the short, complementing it with perfectly timed audio, as Alice tries to take care of her growing problem.

Narratively, the film also has clever nuances. It’s not only about the pressure to appear a certain way and conceal the imperfections, Sauter-Cooke also highlights the systemic pressure in addition to the social one. The film’s portrayal of the healthcare system’s dismissal of Alice’s concerns will resonate with many, reinforcing the unsettling reality of losing agency over one’s own body and the frustration of not being heard or believed.

Evgenia Lichtner stars as Alice in A Rotten Woman

Yet, despite these elements, the film is ultimately empowering. Alice is never seen as a passive character and by the end of the film her journey has turned into one of self acceptance. Sauter-Cooke and editor Maike Nissen echo this transformation by building a rhythm that increases the tension up until the release at the end, wrapping the film on such a hopeful note.

Evgenia Lichtner, as Alice, is remarkable in how she portrays the downward spiral of her character. As we embark on her descent into madness, we watch as she progressively loses control over her own body – only to reclaim it by letting go. With little dialogue, Lichtner expertly conveys the nuances of the screenplay, immersing us in Alice’s emotional struggle and ultimate transformation.

Ahead of its online debut, A Rotten Woman made its way around the festival circuit in 2024, with a notable stop at SXSW. Sauter-Cooke is currently working on two new short films, one set in Germany and one in Ireland. She also has three feature screenplays in various stages of development.