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FEATURING: , Alicia Vikander
PLOT: King Arthur’s nephew Gawain accepts a challenge from the mysterious Green Knight to deliver a blow that will be returned to him in exactly one year.
WHY IT MIGHT JOIN THE APOCRYPHA: The Green Knight reconnects us with the deep weirdness of ancient legends, where even Arthur’s shiny new Christian order cannot banish the strange chthonic magics growing from the world below.
COMMENTS: We find him hungover in a brothel on Christmas morning. Gawain, Arthur’s nephew, is dissolute, only seated at the Round Table thanks to nepotism. He tells his uncle that he has no stories to tell, but when the half-tree, half-man Green Knight strides into Camelot (summoned, it seems, by witchcraft), he himself will become the tale. Since none of Arthur’s other knights will accept the oaken interloper’s proposed “game” to trade blows—delivered a year apart—with his axe, Gawain, suddenly ambitious to make a name for himself, steps forward and unwisely cleaves the Knight’s head from his trunk. This fails to deter the tree-man, who merely picks up the severed appendage and reminds Gawain of his date one year hence.
Thus begins Gawain’s quest to become a man. The knight’s code of honor Gawain aspires to demands that he keep his word and, although his resolve trembles a bit, he never seriously doubts that he will face his fate. Lowery fills out the sketchy 14th-century poem with some new incidents (which feel authentically Arthurian, like a version of the story of St. Winifred), but his main twist on the ancient legend is to make Gawain human, relatable, a man with feet of clay who nonetheless perseveres in his duty—or one who is pulled forward inexorably by his fate. As with most of The Green Knight, it’s unclear whether Gawain’s willingness to sacrifice himself is noble, or merely predestined. Contradictions abound: the pagan and the Christian exist side by side, an ancient story is told through a modern lens, and green, as Alicia Vikander reminds us in a long poetic speech, is simultaneously the color of life and of death.
There are strange things in the world which defy all logic, and Gawain experiences many of them on his journey. Heads persist separately from their bodies, women pass out magical totems and sashes, corpses hang at crossroads, giants plod along in an inexplicable parade, and a fox joins his quest (and dispenses advice). In every hut and castle along the way, Gawain encounters strange residents who may actually be ghosts, fairies, or magicians. Dreaminess overtakes our hero as he advances towards the Green Chapel, but in the end, only the clear inevitability of the axe-blow awaits. The formalist minimalism of Lowery’s A Ghost Story yields to a fiery maximalism of fantasy, but the dire existential edge remains.
WHAT THE CRITICS SAY:
“A mystical and enthralling medieval coming-of-age story in which King Arthur’s overeager adult nephew learns that the world is weirder and more complicated than he ever thought possible, ‘The Green Knight’ is an intimate epic told with the self-conviction that its hero struggles to find at every turn. Stoned out of its mind and shot with a genre-tweaking mastery that should make John Boorman proud, it’s also the rare movie that knows exactly what it is, which is an even rarer movie that’s perfectly comfortable not knowing exactly what it is.”–David Ehrlich, Indiewire (contemporaneous)