The Slowest Swing: Nicolas Winding Refn, Batgirl, and the Art of Cinematic Rebellion
There’s something deliciously ironic about Nicolas Winding Refn, the maverick director known for his gritty, hyper-stylized films, expressing interest in a Batgirl movie. It’s like watching a punk rocker eyeing a tuxedo—you know they’ll either ruin it or make it unforgettable. Refn, who has historically turned down Hollywood blockbusters, recently told Deadline that if he were to tackle a DC project, Batgirl would be his pick. Personally, I think this is less about superheroes and more about Refn’s obsession with aesthetics, control, and the subversion of expectations.
Why Batgirl? It’s Not About the Cape
What makes this particularly fascinating is Refn’s reasoning. He’s not drawn to Batgirl because of her crime-fighting prowess or her place in the DC universe. No, it’s the costumes, the aesthetics, the objectification of objects that intrigue him. This ties directly into his work on Her Private Hell, where he explores the fetishization of dolls and the manipulation of space and time. In my opinion, Refn sees Batgirl not as a superhero but as a canvas—a way to explore his fixation on visual storytelling and the power dynamics embedded in objects.
What many people don’t realize is that Refn’s interest in Batgirl is also a nod to his roots. He’s a collector of Japanese toys, a Lego enthusiast, and a self-proclaimed product of comic book subculture. This isn’t just a director chasing a paycheck; it’s an artist revisiting the obsessions that shaped him. If you take a step back and think about it, Refn’s Batgirl wouldn’t be about saving Gotham—it would be about deconstructing the very idea of a superhero film.
The Batgirl Curse: A Cautionary Tale
One thing that immediately stands out is the troubled history of Batgirl on screen. Warner Bros’ decision to shelve the nearly completed Batgirl film in 2022 was a gut punch to filmmakers Adil El Arbi and Bilall Fallah, not to mention a $70M+ tax write-off. What this really suggests is that Batgirl has become a symbol of Hollywood’s mismanagement and creative fear. Refn stepping into this mess would be bold, but it’s also risky. Would he be given the creative freedom he demands, or would he clash with studio executives?
From my perspective, Refn’s preference for originality over IP (intellectual property) complicates matters. He’s not Elia Kazan, but he shares Kazan’s desire to make films his way. A detail that I find especially interesting is how Refn’s potential Batgirl film could either redefine the character or become another casualty of studio interference. If anyone could break the Batgirl curse, it’s Refn—but only if he’s allowed to swing as slowly and deliberately as he wants.
Spider-Man, Legos, and the Slowest Swing
When asked about directing a Spider-Man film, Refn’s Her Private Hell star Rose Havana Liu quipped, “the slowest swing.” This joke is more insightful than it seems. Refn’s films are deliberate, almost glacial in their pacing, yet visually intoxicating. Imagine a Spider-Man swinging through New York in slow motion, every frame dripping with style. It’s absurd, but it’s also genius.
What this really suggests is that Refn’s approach to superheroes would be less about action and more about atmosphere. Superheroes, in his hands, wouldn’t be saving the world—they’d be exploring their own private hells. This raises a deeper question: Can Hollywood handle a director who prioritizes art over accessibility? Personally, I think the industry needs more Refns—directors willing to challenge conventions, even if it means failing spectacularly.
The Broader Implications: Superheroes as Art
If Refn were to direct Batgirl, it wouldn’t just be a movie—it would be a statement. Superhero films have become formulaic, predictable, and often soulless. Refn’s involvement could force audiences and studios alike to rethink what these films can be. What many people don’t realize is that superheroes, at their core, are modern myths—ripe for reinterpretation.
In my opinion, Refn’s Batgirl would be less about saving Gotham and more about exploring the psychological and cultural implications of a woman dressed as a bat fighting crime. It would be dark, it would be slow, and it would be divisive. But isn’t that the point? Art isn’t supposed to be safe.
Final Thoughts: The Maverick’s Swing
As Refn’s Her Private Hell premieres at Cannes, it’s clear that he’s not interested in playing it safe. Whether he ever gets to direct Batgirl or not, his interest in the project is a reminder of the power of cinematic rebellion. If you take a step back and think about it, Refn’s career is a testament to the idea that films should be personal, provocative, and unapologetically weird.
Personally, I think the slowest swing might just be the most memorable one. Here’s hoping Refn gets to take it.
