A fascinating socio-political study blending proto-feminism with dark comedy. The debut feature from Australian actress turned writer/director Mirrah Foulkes, developed from an idea by English actress Lucy Punch and her brother Tom (a seemingly playful nod to the subject matter), _Judy & Punch_ presents a fictional account of the early years behind the well-known puppet show. It’s essentially an examination of proto-feminist ideas applied to a society far removed from modern sensibilities, combining _Monty Python_-style slapstick with serious social commentary on topics like misogyny, domestic violence, witchcraft, and the exploitation of older people, all wrapped in a deliberately unusual and pseudo-magical realist style reminiscent of Angela Carter’s work. It's an odd combination that may not appeal to everyone; some might find the film leans too heavily toward socio-political protest for it to function as comedy, while others will feel the comedic elements undermine its serious themes. While the film runs a bit long at 105 minutes, I felt Foulkes largely succeeded in balancing these tones – most of the humor landed and the political aspects were well-handled. She’s also aided by strong performances across the cast and an impressive visual design, particularly noteworthy given this is her first feature. The story unfolds in Seaside (a town surprisingly distant from the sea), where Judy (Mia Wasikowska) and Punch (Damon Herriman) are a young couple with a baby. Having fled elsewhere years ago, they’ve returned to Seaside and revived their _Punch & Judy_ puppet show. Judy is the more skilled puppeteer, but Punch excels at self-promotion and is often called the "_greatest puppeteer of his generation_", despite not even being the best in his own marriage. His drinking problems have damaged the show's reputation, and he’s now determined to sober up and put on a stellar performance when a talent scout arrives. Meanwhile, women are accused of witchcraft for minor offenses like having a rash or gazing at the moon, leading to monthly “stoning days,” much to the dismay of Judy and the town’s new constable, Derrick (Benedict Hardie), who is secretly in love with her. After Punch violently assaults Judy following a tragic accident, she begins a quest for revenge, joined by women and children fleeing persecution. From the outset, it's clear that _Judy & Punch_ isn't going to offer subtle themes, and this holds true throughout the film. With the exception of Derrick and Scaramouche (Terry Norris), every man in the movie is a violent misogynist. This isn’t meant as criticism, but rather to illustrate how openly the film displays its themes. The _Punch & Judy_ show itself has never been subtle about its own tropes, so it's fitting that a film subverting those tropes wouldn't be either. And Foulkes does just that – Punch hilariously fails at parenting, there’s sausage-related humor, a troublesome dog appears, and even an executioner and crocodile make appearances, all serving to reframe the original story through a feminist lens. Those familiar with the show and its history, including its _commedia dell'arte_ origins, will likely find it more entertaining. _Judy & Punch_ can be categorized as another entry in a growing subgenre of women-directed gynocentric revenge films, like Coralie Fargeat’s _Revenge_ (2017) and Jennifer Kent’s _The Nightingale_ (2018), or even Isabella Eklöf's _Holiday_ (2018). At one point, a character watching the show asks, "_does Punch always win?_", highlighting the societal assumptions that Foulkes challenges – while tradition might dictate Punch must prevail, her film suggests life is far more complex and unpredictable. One of the film’s strengths lies in its aesthetic, with its vibrant and lush setting—a

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