Timestalker
Timestalker, Alice Lowe’s passion project in the making for eight years, mixes elements of Terry Gilliam’s surrealism and Kubrick's grandeur to tell a story of relentless, misguided love – with just the right dash of schlocky gore. Known for her macabre brilliance since her breakout in Garth Marenghi’s Darkplace, Lowe’s imagination runs wild here, leaping through time with Orlando-esque flair, even if the punchlines don’t always hit their mark.
As the heart of this colourful romp, Lowe stars, writes, and directs, bringing to life Agnes, a hapless heroine who is both ridiculous and oddly endearing. We first meet her in a Scottish village in 1688, smitten by a condemned heretic (Aneurin Barnard) whose brooding allure convinces her they are destined lovers. In her fervour, she promptly manages to decapitate herself – a mishap that only begins her journey through the ages, bedecked in everything from Marie Antoinette wigs to 1980s leotards, each era’s costume more extravagant than the last.
Lowe’s knack for affectionate homage shines in each time-hopping sequence. The film revels in its witch-burning, blood-spattered Scottish village of Witchfinder General, while later scenes channel Barry Lyndon through the lens of Dario Argento, with candlelit decadence awash in vivid, horror-esque hues. The bold colour palette reaches its peak in a spectacular heart-shaped wig, a memorable ode to vibrant visuals. Though constrained by budget, Timestalker makes the most of its resources, delivering a film as visually striking as it is inventive.
While there’s undeniable whimsy and boldness, the comedic rhythm feels inconsistent, and Agnes’s one-note obsession can feel thinly sketched. Yet despite these quibbles, Timestalker has heart, ambition, and a quirky charm that could solidify its status as a cult favourite – a singular, imaginative vision that’s entirely Lowe’s own.
The film is currently showing at most multiplexes and will be available on streaming platforms very soon.
