The Beguiled

Martha Farnsworth [Kirsten Dunst] runs a quiet, secluded girls’ school in Virginia, tucked away from the turmoil of the Civil War. By 1864 the halls that once rang with activity are nearly empty: almost all the students, teachers, and even enslaved workers have departed, leaving only Farnsworth, five remaining students, and one steadfast teacher, Edwina Morrow [Nicole Kidman]. The isolation weighs heavy, and every glance through the ivy-draped windows feels charged with unspoken rules, loyalties, and danger.

While out in the woods hunting mushrooms, the youngest pupil, Amy [Oona Laurence], stumbles upon a wounded Union corporal, John McBurney [Colin Farrell], who has deserted after a battle and hurt his leg badly. Amy brings the stranger back to the school, where he collapses beneath the shock of pain and exposure. The women quickly corral him in a spare room, and Farnsworth tends to his injuries with clinical calm, though the house soon fills with a curious, undeniable tension. The sight of the handsome outsider awakens a mix of welcome and desire among the girls and their teacher, a mood that thickens the air with competing motives and simmering rivalries.

As McBurney recovers, a delicate tug-of-war begins over what to do with him. Some residents want to hand him over to Confederate authorities, yet Farnsworth chooses a slower, more transitional approach: let him heal before any decision is made, framed as a Christian mercy that shadows a more practical calculation about safety and control. The Confederate soldiers eventually come calling, but Farnsworth does not reveal the intruder’s presence, hoping to keep the fragile balance intact and to preserve the possibility of a quiet resolution.

During his convalescence, the women and girls begin to vie for his attention, showering him with gifts, jewelry, and elaborate meals. McBurney responds with charm, a response that Farnsworth discerns as strategic—an attempt to win their favor in a delicate diplomatic game rather than a simple crush. Yet the dynamics at the house shift as his role evolves from patient to willing participant in the household’s routines, even helping out in the garden as he regains strength.

When Farnsworth finally tells him he should prepare to leave in a few days, McBurney pleads to stay as a gardener, a plea that recasts his status within the school’s micro-society. He confesses a love for Edwina Morrow, a moment that briefly flares into expectation, but a night of upheaval follows: Edwina discovers him in bed with Alicia [Elle Fanning], the rebellious eldest pupil, and the room grows heavy with consequences. McBurney tries to placate Edwina, yet her anger pushes him, and in a perilous show of misfortune he tumbles down the stairs, breaking his already injured leg and losing his advantage and dignity in one cruel moment. Alicia’s quick, protective claim that McBurney forced himself on her complicates matters, and Farnsworth decides that the only way to save McBurney’s life is to amputate the damaged leg.

When he awakens and realizes what has happened, McBurney is devastated and furious, convinced the women have acted out of spite. He is locked inside, but a moment of cunning enables him to seize the key from Alicia and slip out, stealing Farnsworth’s gun and creating a dangerous standoff. He pursues Amy toward the gate, only to be redirected by Farnsworth’s steady resolve and her calm, persuasive voice that saves the girl from harm at a tense shed by the road. The school’s leadership then faces a stark choice: how to handle a man who has tested their boundaries and upended their quiet world.

In the aftermath, the group grapples with their own fears and collective responsibility. They decide to neutralize the threat by poisoning his dinner with poisonous mushrooms, a plan born from necessity and fear rather than malice. Separately, Edwina follows McBurney toward his room, and here a charged, intimate moment unfolds as she initiates sex, complicating loyalties and intensifying the moral calculus for everyone involved. Although the others anticipate danger, Edwina’s lack of awareness about the plan to kill him means the mushrooms reach the table unmarked by suspicion. McBurney consumes his meal and collapses, the room falling into a shocked hush as the poison takes hold.

The group confronts the consequences of their decision with a meticulous, almost clinical detachment. They dress McBurney’s body for burial, folding him into a shroud as if preserving him in a private ceremony rather than acknowledging the finality of his death. Edwina, though devastated, bears witness to the grim weight of the choices the women have made. The body is carried to the road and strapped to the gate, a grim signal meant to draw the next Confederate soldiers who pass by, a final, eerie message from a house that has turned its own history into a national signal of fear, protection, and unresolved longing.

In the end, the school remains a fragile sanctuary altered by the encounter with a single man who arrived under cover of war, only to become a catalyst for a larger contest over power, affection, and the difficult ethics of mercy. The narrative lingers on the emotional cost to each woman—their vulnerabilities, their fears, and the uneasy quiet that follows a night of choices that none of them can fully justify—leaving readers to weigh duty against desire in a landscape where every decision carries a price.

Last Updated: October 09, 2025 at 16:21