Abstract
From 2017 on, the #MeToo movement has resulted in a set of new perspectives and narratives in cinema; narratives, which, so far, have only ever been presented from and for the point of view of the male gaze. A special case in this process is Emerald Fennel’s 2020 directorial debut, Promising Young Woman. This essay argues that the film not only capitalizes on rape-revenge genre clichés, but it also relies on the tropes of romantic comedy traditions to give a sharp critique of the cultural climate that tolerates, denies, and normalizes rape. The subversion of the male gaze, the centrality of morality in revenge, and the avoidance of the spectacle of female suffering align Promising Young Woman with the rape-revenge genre. At the same time, the film’s take on the Hollywood myth of the likeable and harmless “good guy” highlights the role of classical romantic comedy conventions in perpetuating rape culture. (ZSOR)