Full disclosure, I didn’t intend on seeing ‘Paradise Hills’ while at the Sundance Film Festival. The only reason Ryan and I ended up in line was because the Press & Industry screening of ‘The Last Black Man in San Francisco’ was full two hours prior to its start time. So, ‘Paradise Hills’ it was, and boy, were we in for an unexpected night that left me laughing out loud…and this film isn’t billed as a comedy.

Mademoiselles held against their will

Paradise Hills, directed by first-time feature filmmaker Alice Waddington and written by Nacho Vigalondo (Colossal), is a Spanish-American fantasy film centered around the free-spirited Uma (Emma Roberts) and her girl gang. After being sent to a girls-only futuristic rehab on an undisclosed island somewhere on planet Earth, Uma becomes irritated at the lack of control she has over her life. Under the direct supervision of “The Duchess” (Milla Jovovich), all the girls, or mademoiselles as they’re referred to by the posh rehab counselors, are forced to dress in ultra-feminine wear, partake in tea time, and make flower crowns- of which only one extracurricular activity is fully explained towards the end of the film.

Uma quickly creates a strong bond with her roommates, Yu (Awkwafina) and Chloe (Danielle Macdonald), but is slower to warm up to the Latin pop star, Amarna (Eiza González). Uma and Amarna’s rift doesn’t last beyond the film’s initial scenes as they realize that, in order to break out of this saturated sanctuary, they’re going to need to stick together.

Whimsical stylings overshadow basic plot points

The nods to David Bowie’s Labyrinth and Disney’s Alice in Wonderland in both story and style are undeniable, yet Paradise Hills falls a short in being considered an equal among these cult classics. Whimsical production design and costumes that look like The Hunger Games-meets-Vogue can only propel Paradise Hills so far. The lackluster script mixed with tepid performances and the absence of basic plot points- like any information about our protagonist’s backstory, location or a reference to date/time- are all reasons why I felt disconnected from the film. It’s hard to be invested in a character’s well-being when there isn’t any tangible information to create empathy.

Fantasy gone wrong

The lack of the essential Who, What, When, Where, and Why is ultimately Paradise Hill‘s biggest downfall, even the headlining cast and colorful onscreen distractions aren’t enough to sell this fantasy. Emma Roberts gives a lukewarm performance as Uma; even at the height of the drama in the film’s climax, it feels as if she is just reading lines from the script. Milla Jovovich as the stereotypical “Evil Stepmother” of this reform camp is melodramatic and over-exaggerated, creating an off-balance dynamic in her scenes with Roberts. Even Awkwafina, star of last year’s Crazy Rich Asians, generates a sense of discomfort and awkwardness as she sheds her “funny girl persona” to play a character riddled with anxiety and depression which seemed like a waste of talent.

Risky business

The best part about the Sundance Film Festival is knowing that every film that earns a spot in the lineup was made with heart, soul, and a whole lot of risk- Paradise Hills is no exception, as it was by far the most boundary-pushing film I saw all week. Its dedication to building this world was not overlooked, although it would’ve been nice to know specifically what world we were in.

Paradise Hills is currently seeking distribution. 95 minutes.