Technically a prequel to his earlier slasher film X (2022), Ti West’s Pearl comfortably stands up on its own as a bold, imaginative, and hugely effective work of horror. West already boasts a strong back catalogue of smart independent horror films, including The House of the Devil (2009), The Innkeepers (2011), and The Sacrament (2013). I am confident in describing Pearl as his best film yet.

In 1918 Pearl (Mia Goth) is a young woman living at her parents’ Texas farm while her husband is overseas fighting in Europe. Her highly controlling German mother (Tandi Wright) controls every aspect of Pearl’s life, and forces her to aid her paralysed father (Matthew Sunderland). Pearl seeks an escape in the local cinema, and its disreputable projectionist (David Corenswet), while hoping to leave town via a dance audition with her sister-in-law Mitsy (Emma Jenkins-Purro).

The 1918 setting is one of Pearl‘s best strengths, exploiting historical elements including World War I, the Spanish Flu pandemic, and the looming shadow of economic depression. It is a historical period very well suited to horror – so much so, in fact, that it’s a surprise more filmmakers don’t exploit it. Zack Hilditch’s 1922 (2017) comes to mind as a recent exception.

Of course this is, like X before it, a slasher film, so before long Pearl’s bottled-up and restrictive existence explodes over the screen in a riot of blood. For anyone coming to Pearl as a prequel, it provides the requisite back story for her character and situation in that earlier film. For anyone coming to it without the benefit of its predecessor, it still has a strong structure, well-crafted characters, and its own compelling and violent story to tell.

This is a strong achievement that is easy to miss. Too often prequels do not exist to tell stories, but rather deliver trivia. Viewers know where characters wind up, so developing tension or narrative engagement can be difficult. In this case Pearl stands up very well as its own story. While there are smartly developed links to the earlier film – particularly in terms of pornography (a subject that features in both) – there is more than enough material here to be enjoyable in its own right.

Mia Goth already impressed in X by playing both protagonist and villain. Here she is enormously entertaining playing a troubled, naive woman whose circumstances gradually push her to unhinged extremes. Some moments are appallingly funny. Others are properly unsettling. It is a beautifully expressed performance, and shows off a far more accomplished range than her roles the first time around. Goth also co-writes the screenplay for this instalment, which is vividly developed and effective.

Visually the film is an unexpected riot of colour, taking its cues from an older, classical style of American cinema. The Wizard of Oz is clearly a major influence, and performances across the board reflect a broader and more theatrical tone of acting. As with many of West’s previous films, Pearl is the work of a deeply cine-literate and playful filmmaker.

Pearl is being followed up this year by MaXXXine, in which Goth returns to playing her lead character from X. If it expresses as distinct and creative identity as Pearl, then the overall series seems guaranteed to stand up as one of the genre’s very best.