Beautiful, haunting, modern Gothic horror. It's called a classic for a reason.
Martyrs. 2016. Directed by Kevin & Michael Goetz. Screenplay by Mark L. Smith; based on the original characters from Pascal Laugier’s film.
Starring Troian Bellisario, Caitlin Carmichael, Kate Burton, Bailey Noble, Toby Huss, Diana Hopper, Lexi DiBenedetto, Taylor John Smith, Peter Michael Goetz, and DaJuan Johnson. Blumhouse Productions/The Safran Company/Temple Hill Entertainment.
Unrated. 81 minutes.
I always try to give remakes a fair shake. Slightly different story when you have to push through a favourite film being remade, especially if it comes out poorly. Though I love Spike Lee, as a filmmaker, his remake of Oldboy is one of the worst in recent memory. And that’s been a favourite of mine for years. When I heard Pascal Laugier’s frantic, bloody, wild movie Martyrs was being remade, it didn’t exactly excite me. Sure, I love when a fresh take or update can be done on a film, such as Alexandre Aja and his efforts on The Hills Have Eyes. But more often than not, an excellent foreign language film gets turned into nonsense by way of North American directors and writers.
Sadly, this new version of Martyrs is not up to the task of making things fresh, exciting, or even much different. It is definitely not a shot-for-shot remake, but it also doesn’t have a lot of what made the original French film so impressively visceral and continually interesting. This re-imagining, remake, or whatever word you choose to employ, didn’t have to go for big gore and get as graphic as Laugier. What it did need, though, is the emotional resonance, the quality techniques of Laugier and the original team, and generally a better screenplay if it were meant for glory. Not near being one of my favourite remakes. Another great film gets an unjust treatment for North American audiences, many of whom are probably too lazy to read subtitles and watch the original, evident by how many foreign films get remade here in the West. If that weren’t the case, if the demand weren’t so high, I’d assume people were seeking out the original pieces of work. In this case, I certainly suggest you watch Laugier’s movie. It’s leaps and bounds better than this mediocre, run of the mill dishwater.
Two young girls come together as orphans at a young age, Lucie (Troian Bellisario) and Anna (Bailey Noble). Lucie escaped from a terrifying, abusive situation of captivity, which Anna helped her get past.
Cut to years later. They’re grown young women. Lucie finds the family who supposedly held her captive, then shotguns them all, including the kids, to death. She calls Anna frantically, telling her what happened. Her friend arrives to try and help things go smoother, as far as is possible. But Lucie spirals out of control. Soon, Anna is in the house, bodies everywhere, and a group of armed people take over.
Brought to room and tortured, Anna discovers what Lucie went through. The two girls are pitted against their captors. Although, the past comes back to bear on their present situation. As things are revealed the capture of Lucie as a young girl becomes more clear, the movie behind it all unearthed. Can they survive this? Will Lucie be able to make it out of the horror a second time?
*SPOILER ALERT: TURN BACK OR THOU SHALT FOREVER BE SPOILED!*
One thing I quickly disliked about this version is that the screenplay from Mark L. Smith (The Revenant, Vacancy) decides to keep both of the main women alive. Whereas in the Laugier original, the Lucie character dies. What I love about that original screenplay is that the Anna character is then forced to deal with the aftermath of the situation, as well as the group who come to find her, forcing her to also suffer the torture her friend once did years ago. In this film there’s this sense of a bunch of subjects captured at once, while Anna and Lucie then also find themselves captives. Part of why I enjoyed the original French film is that Laugier went for a definitively tragic and truly epic plot. Smith, though he did amazing stuff with The Revenant, makes the mistake of going for something more hopeful. Realistically you have to look at the group doing these experiments; they are obviously massive, a solid organization, so to just do another escape thriller with this setup is wasting a lot of potential. The original capitalized on all its brutality, as well as emotions, and went for a dark ending. Without spoiling anything, this remake cops out. Some say the original was all nihilistic. Except for the fact the people torturing the hopeful martyrs, for all their faults and bloody terror, are seeking a way to discover what makes someone into such a portal to view what’s in their eyes, seeing beyond life and into the chasm of death. So, it’s not really nihilistic, not in true terms. But any of the impact of the film is taken away in this screenplay. Not at all impressed with Smith’s choices.
The execution isn’t a whole lot helpful either. Tons of exposition that the original never needed, as well as so much sanitized horror. It all combines into a real mess. There are, yes, several moments of decent blood, and also several intense sequences. Yet none of this adds up to even half the impact Laugier came off with, which does nothing to make me enjoy this needless remake. There was a grim, moody atmosphere and a gritty tone to the original. Here, most of the movie feels glossy, bright even in the darkness, and overall there is nothing technique-wise that ever grabs me. Kevin and Michael Goetz did 2013’s Scenic Route and I actually enjoyed that a good deal. It was entertaining, gritty at times, funny even. Lots of good stuff. Their follow-up film is nowhere near as good. Hopefully next they’ll go with an original film with a better story because they’ve proved themselves on the previous movie. Martyrs is a step backward.
I’ll give the film a 1&1/2 star rating, solely because I did enjoy aspects of Bailey Noble’s performance, even if I wasn’t a fan of the plot. Likewise, Troian Bellisario is decent enough to keep your attention particularly later when the torture commences once more. But this is an unnecessary remake. Honestly, I try to give these remade films a chance, however, they more often than not let me down big time. This one is no different. Over the past few years this is one of the worst. Again, I hope the Goetz brothers go forward and make something better. As I hope Mark Smith pushes on and finds better success with another movie. These are better artists than the movie suggests. Martyrs, the original, is worth your time. Despite what others say about a totally boring, gory film, Laugier made an impact with that one, which I will never forget. Skip this, see his original. You’ll thank me.
With a list for the disturbed, one for zombies/living dead/infected, a 31-day map of horror and even a list for Halloween-ers who aren’t horror fans, I’ve come to one with a special disturbing dedication: blood and gore and uncomfortable pains!
While the other disturbing list is a bunch of general unsettling movies, this one is based mainly around effects and the visual nastiness. Now, these aren’t meant to be the BLOODIEST, or the wildest gore imaginable, nothing like that. The movies on this list are some of the ones with the effects I enjoy most, the nastiest depictions of violence, and so on, which I’ve found throughout the 4,100 films I’ve seen in the past 30 years.
Hopefully you hardcore horror fans will enjoy some of these and you’ve probably seen a few, if not all. Either way, let me know what you think and if there are any others you enjoy that ought to be shared.
Anthropophagus (1980)/ Absurd (1981)
A perfect double feature if you want a big helping of senseless violence, relentless terror and creepy atmosphere. These two landed on the Video Nasty list during 1983; they were also prosecuted successfully.
Joe D’Amato’s Anthropophagus sees a group of friends on a Greek island terrorized by a tall cannibalistic man of mysterious origin. No more explanation needed because there’s honestly nothing much else to say. It’s the way D’Amato shows everything, his style, which really makes this something to see. Truly nasty bit of work. Goes well together with a want for blood, guts, and flesh wounds of all shapes and sizes.
Moving on to 1981, D’Amato comes back with a spiritual sequel to his earlier Anthropophagus from 1980 – Absurd is the story of a priest chasing down a monster whose blood coagulates incredibly fast, rendering it near impossible to kill, and its killing is unstoppable.
This isn’t near as good as Anthropophagus, still it is some more savagery from D’Amato whose nastiness knows no bounds at times.
A ton of head action here: no, not a blowjob, I’m talking heads being drilled, heads being sawed, et cetera. If you’re in need of a bit of rough violence, this is certainly the ticket. However, as I said, D’Amato doesn’t come back near as good with this film as he did with the previous.
These two films make an interesting, nasty double feature. Don’t say I didn’t warn you – not plot heavy, but definitely thick with murder!
Blood Feast (1963)/ Two Thousand Maniacs! (1964)
The second double feature (out of 4) on this list, it’s another one with both titles from the same director. This time, it’s the Godfather of Gore, Mr. Herschell Gordon Lewis.
The entree: 1963’s Blood Feast.
While this is by no means a great film, it’s definitely ambitious in terms of the blood and gore. With Blood Feast – the story of a killer slaying women in order to get blood to appease an Egyptian goddess – Lewis began introducing the world to his vibrant brand of gore horror. Right from the very beginning of the film, its first sequence comes off totally awesome and bizarre; a proper portion of H.G. Lewis signature style gory makeup effects. So pretty much immediately you’ll know whether or not you’re in for his type of filmmaking. I dig it and think it’s nasty as hell. This is one ridiculously fun and equally rotten bit of gore horror.
After Lewis shocked with the previous little blood & guts flick, he came back swinging with a much better film the next year: Two Thousand Maniacs!
This one is the story six people who find themselves trapped in a town, deep down amongst the Southern U.S. and one by one they’re killed, as part of a celebration/their revenge for the town being destroyed in the Civil War.
Talk about bloody! The poster does not lie. Early on in the days of splatter horror movies, H.G. was rocking it hard. Furthermore, there’s a real dreamy quality to Lewis’ filmmaking and I feel that’s a part of appreciating what he does; sure, it’s kind of cheap, yes it is also tame compared to things today. But is it really tame? I don’t think so. Either way, there’s a certain atmosphere Lewis creates which not a lot of people take into account. Sort of an avant-garde-trash mixture. Bless him. This is a wonderfully fun and bloody piece of work.
These two Hershell Gordon Lewis movies work so well together, though, the second is much better. This gives me my fill of organs and bleeding cuts and slashed throats and more. A perfect Halloween splatterfest!
My full review is here.
One of my three favourite Davids – another one comes later (and the third is my dad) – Lynch dropped his first feature film onto the midnight circuit in 1977 with the existentially horrifying and viscerally churning Eraserhead.
The story… ah, if you don’t already know what this movie is, there’s no real point trying to explain it. Maybe best put: the story of a man living in an unbearable industrial landscape, whose girlfriend gets pregnant and then they both must deal with it after coming out a tiny monster. Oh, and don’t forget the woman who lives in the radiator.
A whole mind trip of a film, this Lynch masterpiece has tons of the existential dread happening, from start to finish. But the visuals – holy fuck, the visuals! There are moments even some hardcore horror hounds find nauseating, simply because of the way Lynch shows us his imagery. I won’t ruin anything for those who’ve not seen it. Needless to say, you may never look at a turkey or chicken again in the same way once you’re ready to carve it up.
Fun note: Lynch still says to this day no one has ever really pinpointed what the film is about, for him.
Dans Ma Peau a.k.a In My Skin (2002)
This French film is the story of a woman who experiences a bad injury while at a party, then becomes increasingly obsessed with self harm – serious cutting.
A lot of people might find themselves flinching throughout large portions of this one. Honestly, it’s a tough piece of cinema. The amount of nasty cutting and self-violence here is extraordinary. Perhaps what makes the blood and makeup effects here so devastatingly effective is the fact we get inside the headspace of the main character – also the director and writer, talented woman – and come to actually care about her, maybe some of us will identify with her. So this takes it to another level. Go into this expecting you may turn it off due to discomfort.
Hostel (2005)/ Hostel: Part II (2007)
For my full review of 2005’s Hostel – click here
For my full review of the sequel – click here
Another double bill, again each from the same director. This one would actually make a great quartet feature with H.G. Lewis, come to think of it.
Say what you want about Eli Roth, he’s effective. Can you honestly say the special makeup effects in Hostel aren’t well executed? If so, you’re kidding yourself. You might not like how Roth plays out his film, you may not even like the content. There’s just simply no fucking way you’re convincing me the blood and gore here isn’t properly nasty.
Hostel came out and turned up the label “torture porn” (get what it implies but hate the term). The whole thing, to me, is a sleazy masterpiece of bloody horror. Its first half plays like a roadtrip comedy with the three dudes, cut with bits and pieces of murder. Once the second half begins, Roth takes us on a gory ride. That eyeball effect? Come on… don’t let whatever your opinion of Roth/the movie overall may be cloud your judgement: this is some hardcore brutality. There are plenty more bits to “enjoy” when it comes to all the bloody goodness, the eyeball is my favourite.
I wasn’t expecting a good follow-up, honestly. Regardless of that, though, Hostel: Part II is one hell of a sequel from Roth. Of course the end turns out to be a nice little feminist twist, but most of the film sees a trio of women in peril, as opposed to the three dudes from the first. The savagery is just as prevalent here. Love the homage to Erzebet Bathory with the bloodletting bath scene. Also, I’m always a big fan of piece of shit men getting their dicks cut off. So there’s that.
Both of these films are incredibly horrific, in their own ways while still being similar. Even better than that, I find the sequel Roth came up with did well with creating an entire universe with the story, going deeper into the global club of psychopaths who round up victims for murder tourists to have a go at. On top of all the bleeding and the screams and the terror, there’s also a cherry of a decent plot, too.
Island of Death (1976)
Back to another of the infamous Video Nasties. And I’m not putting this on the list all due to it being on there, either. Only awhile ago did I actually get the chance to see this, but christ… what a doozy.
In 1976, director Nico Mastorakis put out Island of Death after seeing how well Tobe Hooper did with his indie shocker The Texas Chain Saw Massacre only two years before. Except without much of an intent, as I feel Hooper had with his own film, Mastorakis only wanted to bring the awe with a sadistic and perverse plot based around a British couple – who say they’re recently married yet are actually later revealed to be a brother-sister incest duo – wreaking absolute havoc on people while visiting a Greek island. Strangely enough, for two inbreeding siblings, they kill people who they deem sinful.
You’ll find yourself, most certainly, struggling to get through this because it’s not particularly good, in regards to plot or story. Neither is it overly well-acted. It’s the brutish violence and boundless depravity which will take you in. The blood flows and the gory scenes will make you understand easily how this ended up on the Video Nasty list.
Masters of Horror: “Imprint” (dir. Takashi Miike) (2006)
My vote for most disturbing segment ever made for television – Takashi Miike’s Imprint from the horror anthology series Masters of Horror.
Miike has turned up on another list I did for Halloween this year (for his 1999 horror-thriller Audition). He comes back here again with a vengeance.
Without giving away too much, an American traveler who once visited Japan for a time goes back for another trip. When he looks to find the geisha with which he connected so emotionally on his first visit, she is nowhere to be found, and he soon begins to unravel the devastating mystery surrounding her disappearance.
Think it sounds okay? One of the most disturbing movies I’ve ever seen, and it was a television episode; though, it wasn’t allowed to air if I’m not mistaken. I bought the two seasons of this show and found myself blown away by this one in particular. Lots of nastiness from one of the true masters, Takashi Miike.
For my full review, click here.
A personal favourite of mine, David Cronenberg’s Videodrome is similar, in a few respects, to what he was doing in eXistenZ later down the road. However, they’re definitely different, vastly so, as this 1983 classic goes much harder and more metaphorically at the body horror sub-genre.
Sleazy TV producer Max Renn (James Woods) searches for the ultimate in raw, real content for his channel. In his search, Max comes across an ultra-real show named “Videodrome”, featuring what seems to be actual snuff and torture, et cetera. Slowly drawn in, his quasi-girlfriend Nick Brand (Deborah Harry) goes to audition for the show, having an interest in masochism particularly. What happens next takes Max to the brink of reality and sanity at once.
Cronenberg is one of the genius filmmakers of cinema, even better that he’s Canadian (as I am one; he’s a national treasure). He’s very much an auteur, I would say he’s pretty much the king of body horror. Even further than that, I’d definitely say Cronenberg is at least ONE of the godfathers of the sub-genre. Lately he’s moved a little bit away, which is fine. You just cannot deny his power. Some of the effects here, provided by maestro artist Rick Baker, are simply unforgettable – the fleshy VHS tape, the mutilated/deformed bodies, and so on. Plus, on top of all the body horror, as is his style, Cronenberg also gets into how we relate to media, whether movies or television, what have you. Very interesting movie and also harrowing in terms of its body horror imagery.
Haute Tension (a.k.a High Tension a.k.a Switchblade Romance) (2003)
For my full review, click here.
Alexandre Aja is a favourite of mine, in terms of modern horror filmmakers who have emerged over the past 15 years. He’s vicious, funny, he’s displayed – in some of his films – that practical special makeup effects still have a place in post-2000 horror, it isn’t all about CGI. Most of all, I think he wears the biggest and best of his influences on his sleeve.
The story of Marie and Alexia, two college friends – they head for a vacation back to Alexia’s parents home in the country, deep in the cornfields. On their first night, a killer comes knocking at the door. Systematically he murders the family, except for Alexia – all the while, Marie is hiding upstairs in a room at the top of the house. Marie manages to slip into the killer’s creepy truck before he whisks Alexia off. This begins an intensely vicious night of cat-and-mouse maneuvering, swimming in blood.
I never once saw where this horror movie was going the first time I saw it. Then when you watch it over and over again, which I’ve done (because I fucking love it), it’s interesting to watch knowing where it will go and still find yourself enthralled. There are some of the most perfect special makeup effects in High Tension. It has such a great 1970s/1980s horror sensibility, one of the biggest reasons why I can’t get enough of this Aja masterpiece. Some will tell you the twist is something you’ll see coming. I don’t believe that; people who say those things, some of them anyways, are usually just naysayers unable to point out anything particularly bad about a movie they don’t like (for whatever reason). You’ll be blown away, or in love depending on how sick you are like myself, by all the blood and gore from start to finish. Plus, the performances are incredible, even the near mute killer. This one is a definite shocker you need on the Halloween movie marathon list. If you don’t dig subtitles, get over it or miss out on a fantastic piece of modern horror-gore cinema.
Macabre (1980)/ Demons (1985)
Moving on to our next – and fittingly final – double bill: back to back Lamberto Bava madness!
To start, the 1980 horror (amazingly it is loosely based on a true story) Macabre. This one is insanely fun in the sickest horror sense. A woman is reeling from the death of her extramarital lover; they were in a car accident and he was decapitated. After a 12-month stay in an institution, she gets out and heads back to the apartment where she and her lover would meet to make love and be together. Soon, her landlord begins to suspect there’s still something going on between the woman and her lover.
So that description alone should intrigue you + the poster art there! To tell you the truth, the poster itself I’ve got there is a bit telling. But still, not like my description wasn’t either. If you want some nasty horror dealing with dead bodies and psychosexual tension, this will make any Halloween properly disturbing with a nice spate of – you guessed it – macabre imagery.After Macabre‘s more subtle story, believe it or not, is the 1985 cult classic Demons. For those who don’t know, Lamberto Bava is the son of revered Italian horror/giallo director Mario Bava (see: A Bay of Blood & more). So while his father was an absolute powerhouse overall in cinema, not someone I would banish to simply being a great genre director but a true artist, Lamberto doesn’t quite rise to that height. That being said, he is still an amazing horror director. Demons is an all-out barn burner: a bunch of people are trapped in a theatre, home to demonic entities, and they proceed to kill/possess everyone possible inside. Honestly, there’s nothing else to say about the plot – it is what it is, and that’s all right. This is one wild piece of horror, similar to a zombie film yet these are demons; the more they possess people, the greater their numbers. Not only that, the special makeup effects in this one are gnarly and awesome as hell. You have to put this one on if you’re watching Lamberto Bava, it’s a wild ride, and a nice contrast piece to Macabre, a very different sort of horror. These two movies together will really get your blood flowing. Turn Halloween into a night of terror with this double feature full of depravity and utter chaos.
It’s strange because so many people seem to have seen Lucky McKee’s The Woman from 2011, yet inexplicably ignore its predecessor – the 2009 indie Offspring.
Based on a novel by Jack Ketchum, and subsequently his screenplay for the film, this is a tale of the remaining cannibals from an old clan who move in on a nearby town and begin to wreak havoc on its people.
There are some intense bits here, especially with the inclusion of the feral children in the clan; one scene immediately comes to mind when a woman walks into her kitchen, only to find blood and body parts and kids nibbling on the tasty little bits they’re holding. This is one really macabre story and its execution I find pretty damn good; not perfect, but good enough. Not sure why this one has a super low rating on IMDB, perhaps some might find it cliched or overdone, I don’t know really. The mind of Jack Ketchum comes out pretty nicely, to my mind. He is a unique and terrifying writer.
Either way, I do know this has enough satisfyingly disturbing bits of gore and morbidity in it you might spend a few minutes before bedtime making sure no cannibals are hiding out in the kitchen.
For a full review and examination of this shocker, click here.
Loosely based on the real murderer Werner Kniesek, Angst is the tale of a madman released from prison, after which he brutalizes and murders a family in their small home.
Truly, to me, this 1983 cult horror film out of Austria is actually an examination of institutionalization crossed with an already violent psychopath, almost the meeting of two immovable forces crashing against one another. Right from the first scene, we know how madly gone the psychotic (Erwin Leder; best known from Das Boot) has become in his time through the prison system.
And that’s part of why Angst is so powerfully disturbing – aside from the messy, bloody bits, the entirety of the film has us knocking around in the head of this man. We’re never given any of what’s going on outside of him, anything from a different perspective, but rather this depraved killer is our guide, our sherpa into the heart of utter darkness.
If your Halloween season hasn’t been viscerally disturbing enough, get ahold of Angst. It’s becoming better known over the past few years, particularly with the Blu ray release, however, it’s still not widely recognized enough in my opinion. There are easily drawn comparisons between John McNaughton’s Henry: Portrait of a Serial Killer. Though, trust me: this movie is far different, it gets deeper into the brain matter of its killer and really tries to strip things down to push us into the main character’s uncomfortable headspace.
Salò, or the 120 Days of Sodom (1975)
This 1975 Pier Paolo Pasolini-directed shockfest is one you’ll undoubtedly see turn up on most of the disturbing horror lists out there. Anybody in their right mind will find this completely raw and hateful nasty, no doubt about that. The most hardcore horror fans readily admit this is one insane piece of cinema.
While I do think there’s a major part of this movie speaking to fascism, et cetera, the majority of what you’ll find incessantly horrifying here is the imagery. And it’s not subtle, not even for a hot second.
Think – have you ever thought to yourself “I’d love to see a movie where people commit sodomy, eat human faeces, then throw in some violent torture/murder and a suicide to boot”? If so, this one is for you!
Okay, I don’t make this one sound in the slightest appealing. Because it’s not and I’m not trying to fool you here. This is a list of disturbing horror to do solely with imagery, effects, and so on. You won’t find a more visceral piece of cinema ever, maybe. Many argue this has no purpose, but under all its nasty and in-your-face nausea, Pasolini had something to say with Salò and after all these years – four decades later – people are still debating it, still fighting it, the controversy surrounding the film and Pasolini himself continues to burn in the public heart of film lovers. So can you say, either way, love it or hate it, that Pasolini’s movie is not effective? You’re kidding yourself if the answer is no.
Putting this one on could ruin October for you; the entire month. But if you’re adventurous, and a little messed up, pop this in and rock out to the Pasolini mindfuck machine.
Thanks for reading another of my Halloween lists this year. Once more, as always, I’m hoping you’ll find at least one flick to put on during October. Especially the closer it gets to the 31st. This list will induce shock and awe, I know it does for me. These are all pretty wild movies, to me. If you have any other suggestions for blood, guts, skulls and assorted nasty stuff, please drop a comment and let me know in what sort of madness you’ll be indulging over the next couple weeks.
L’inconnu du lac (English title: Stranger by the Lake). 2014. Directed & Written by Alain Guiraudie.
Starring Pierre Deladonchamps, Christophe Paou, and Patrick d’Assumçao. Les films du losange. Unrated. 97 minutes.
I know a lot men personally who would be uncomfortable watching a movie like Stranger by the Lake. As a straight man myself, I have no problem with queer cinema. Just as I’ve got no issues with homosexuality, transsexuality, anything of any nature similar. I’m supportive of the rights of all human beings to do what they please, so long as it affects no one else. Personal choice is personal choice. That’s also why I don’t shy away from any movies which deal with queer situations, issues, et cetera. For instance, I happen to love Brokeback Mountain while most of my straight male friends would probably make fun of me (nice guys – just not the type who are going to comfortably sit and watch two dudes kiss or make love). I don’t want to particularly see it in real life or in film, as in I don’t find that pleasurable – I don’t mind to see it on film, though, if there’s a purpose. Stranger by the Lake has its own purposes. I think it’s a really exciting movie. If you’re comfortable in your own sexuality, or I guess particularly if you’re gay, you would probably be able to admit it’s a very sexy film, as well. Absolutely a fine dramatic thriller centered around a frequent hotspot for men cruising to find quick lovers, and maybe more – sinister and otherwise.
Alain Guiraudie’s Stranger by the Lake tells the story of a young man named Franck (Pierre Deladonchamps) who spends his summer afternoons hanging around a local swimming spot – a lake where a lot of male bathers, mainly gay men, go to swim and bask in the sun. Nearby, there is a place where promiscuous sexual encounters happen between those who frequent the lakeside attraction. Franck meets a man named Henri (Patrick d’Assumçao) whose wife has recently left him. The young man is not particularly attracted to Henri, but the two form a friendly relationship, and often talk together while sitting and admiring the other men at the lake. Soon, Franck also meets the charming and handsome Michel (Christophe Paou). However, one night Franck secretly witnesses Michel commit a savage act. Yet despite what he knows Franck is intensely attracted to Michel, who he has come to discover is a killer. From here things become very strange, very sexual, and very mysterious.
I think the plot of the film is really a great driving force on its own, but what really makes the movie tick are the performances. It’s all about the chemistry between Pierre Deladonchamps as Franck and Christophe Paou as Michel. They are a pretty good duo. I’m not sure of their real life sexual orientations. Regardless if they are gay or straight, they do a good job acting passionately towards one another. While this is not a pornographic movie, and not even particularly a romantic film either, much of the story relies on the two of them acting off one another. A lot of the film’s tension is built through how we end up feeling about Michel – his interactions with Franck really fuel all the emotions conjured up in us. The two of these guys are really great together. I think Deladonchamps is my favourite. Yet Paou is fairly villainous in a seriously quiet, subdued manner.
Still, I can’t forget to mention Patrick d’Assumçao either honestly. He has a minor role. Though, I do feel there’s something important about him. Not that he comes off as unimportant. I think there’s a certain amount of a polar opposite effect in the character of Henri – while he is just this boring, nice, fragile, hurting man who could probably offer a genuine companionship for Franck, the young man is more interested in a dangerous person like Michel. If you didn’t know what you know about Michel, you would probably understand that Franck would be more intrigued by Michel. On the other hand, knowing what we know it’s that tragic irony visible in the plot that makes Henri a sympathetic character.
This was one of my favourite films of the last year, which was included in the Best Of 2014 list I did recently. It’s nearly flawless. There’s something very exciting and mysterious about the movie, how it flows together, the characters – everything just works, firing on all cylinders. I’ve never seen any of Alain Guiraudie’s other work, but certainly aim to search some out now and watch them. I love a good erotic thriller. As a straight man, I don’t need to watch something about straight people. I hope there are many, many more like me – I know there are because if not these films might not survive to see the light of day, unfortunately. I think this could have been about anybody, regardless of sexual orientation, gender, whatever – this works as a basic concept. Plus, I think these men who acted in the film really pulled it off in a fantastic fashion. There is a lot of tension here, and great chemistry from the nice, tight writing of the script. I’d watch this again any day. Looking forward to eventually picking up a copy on Blu ray. Fantastic film. Highly recommended, but probably only to my cinema lover friends. To those too uptight or not comfortable enough with their own sexuality – get over yourself! You’re missing TONS of great cinema.