We all know the way a cautionary tale goes: the protagonist receives their warning, they heed the warning and go ahead with the deed anyways, and then they are left to face the consequences of their actions. However, not every cautionary tale must follow the same structure. When they do not, they provide the audience with something fresh and new. It requires them to dig deeper than the surface of the film to find the moments of caution provided.
After a preview screening of her film for London audiences, writer director Julia Jackman discusses how fantastical and folklore have warnings rooted throughout time. These foresights are seen in many forms, and in 100 Nights of Hero they are hiding them in the stained glass. Not only do Jackman’s beliefs come across clearly in her latest film, more reflections on reality do too. 100 Nights of Hero can be much more than just a film. It becomes a display of religion and ideals of men.
Forget gods, in this world men and women are forced to worship Bird-man (Richard E. Grant). Though his daughter created the world, Bird-man was sick of how simple it was. Centuries later, in a remote castle is where the story begins. Sweet innocent bride Cherry (Maika Monroe) lives with her crude husband Jerome (Amir El-Masry). According to the rules of the church, the two must consummate their marriage, a task that Jerome is not entirely up to. When charming house guest Manfred (Nicholas Galitzine) arrives he challenges Jerome. The two wagers that in 100 days Manfred will seduce Cherry. If he is able to do so, he wins Jerome’s castle. Yet with the wager of the two men, Cherry faces dire and life threatening consequences.
It is most magically queer. Everywhere you look and everything you feel is soft, innocent and beautiful. An ultimate essence of magic, projected in every direction from beginning to end. In her sophomore feature, Jackman brings this virtuous queer fantasy-romance to the screen. Writing the script herself, Jackman adapted the film from Isabel Greenberg’s 2016 graphic novel of the same title. The audience is brought into the world of Cherry and Hero with the feeling of inspiration coming from Scheherazade and the One Thousand and One Nights. Queer inspiration and folktales root themselves within 100 Nights of Hero.
A carefully crafted world, both by director and Bird-man within the film itself. As the lore is followed, Bird-man took over his daughter Kiddo’s (Safia Oakley-Green) vision. Many lessons can be seen from the beginning. Not even a lesson but more of a common fact of life, the men believe their opinions are the only ones which matter and take over. In Cherry and Hero’s world, women are not allowed to read or write, but they can tell stories. Something that feels commonly placed throughout history. The idea that women would only have one purpose in life.
Designer Susie Coulthard’s romantic costumes amid the set design help viewers immerse themselves in 100 Nights of Hero. As we are magically whisked away, we cannot help but be cautious. Jackman has ingeniously woven in ideas of women and treatment from the other sex. We are given pure magic and joy as Cherry and Hero are together. We cannot help but be reminded about the walls that women face along the way.
Queer stories never need be happy for audiences to watch them. 100 Nights of Hero is magical and romantic, yet realistic as well. Jackman reminds the world of the horrors that lie within. Through Cherry and Hero we witness innocence and strength. After premiering at the Venice International Film Festival and the London Film Festival in 2025, 100 Nights of Hero will now release in UK cinemas February 6, 2026. No matter which aspect of the film you find yourself drawn to, if you are wishing for more queer stories, be sure to watch 100 Nights of Hero on the big screen. Support not only female filmmakers, but queer cinema.