Frederick R. Friedel’s Lisa, Lisa, better known as Axe, is a fascinating artifact of 1970s exploitation cinema. A minimalist revenge thriller, the film has earned a cult following over the decades for its stark brutality, eerie atmosphere, and unflinching low-budget aesthetic. While it lacks the polish or complexity of other genre classics, Lisa, Lisa delivers a harrowing and compact tale of survival and vengeance that lingers in the memory.

The plot is simple yet effective. Three criminals, on the run after a murder, seek refuge at a secluded farmhouse where 13-year-old Lisa lives with her bedridden grandfather. What follows is a tense game of cat and mouse as the intruders push Lisa too far, unleashing her simmering rage. The film’s brevity—running at a taut 68 minutes—leaves little room for filler, keeping the story tightly focused on its grim premise.

What sets Lisa, Lisa apart from its contemporaries is its unrelenting bleakness. Friedel leans into the limitations of his low budget, using the sparse setting and minimal dialogue to create an oppressive atmosphere. The farmhouse itself feels like a character, its peeling wallpaper and creaking floorboards underscoring the isolation and decay at the heart of the story.

Leslie Lee’s haunting performance as Lisa is the film’s centrepiece. Her quiet, almost detached demeanour adds an unsettling layer to the character, making her transformation into an avenger all the more chilling. Lisa isn’t portrayed as a triumphant heroine but as a damaged and dangerous individual, blurring the lines between victim and predator.

The film’s violence, while shocking for its time, is more suggestive than explicit, relying on Friedel’s knack for implication and mood. The gore is sparingly used but effective, reinforcing the grim realism of the narrative. This restraint, combined with the film’s low-fi aesthetic, gives Lisa, Lisa a raw edge that elevates it above mere exploitation.

However, the film isn’t without its flaws. The pacing occasionally feels uneven, and the limited budget shows in the occasionally wooden performances from the supporting cast. Additionally, the film’s lean runtime leaves little room for character development, which might leave some viewers craving more depth.

Despite these shortcomings, Lisa, Lisa holds its place as a notable entry in the revenge thriller subgenre. Its stark simplicity and oppressive tone make it a compelling watch, especially for fans of gritty, no-frills exploitation cinema. Fifty years later, it remains a testament to how resourceful filmmaking can turn limitations into strengths, delivering a haunting and visceral experience.

• Saul Muerte