Tagged Pusher

Bleeder Draws a Violent Line in the Sand Between Film and Reality

Bleeder. 1999. Directed & Written by Nicolas Winding Refn.
Starring Kim Bodnia, Mads Mikkelsen, Rikke Louise Andersson, Liv Corfixen, Levino Jensen, & Zlatko Buric. Kamikaze.
Not Rated. 98 minutes.
Crime/Drama

★★★★★
POSTER
People who frequent this site will now be sick of my love for Nicolas Winding Refn. He divides people. Nowadays, some of his supposed fans are really just fans of Drive. Others like his earlier work but find his latest stuff in the past 10 years a bit too much. Furthermore, there are others like myself who enjoy every last inch of film on which he’s left his mark. Not only that, I enjoy his writing alongside his choices and style as director. Not everything works every bit of the time. However, Refn always manages to intrigue me. He pulls at the seams of the brain and makes it unravel, no matter if we’re stuck in the gutters of Copenhagen, the cluttered video shops and bookstores, or whether he’s got you traipsing across the landscape of some foreign place on the way to who knows where – his mind is always working to try and fuck yours. In one way, or another.
Bleeder is in the earlier portion of his career, where the main focus of the stories he told were based in the streets of Copenhagen. First with Pusher, he explored a criminal, drug world. This film is set in a similarly lower class environment in semi-rundown flats and other locations, the characters each lower to middle class types. Above all else, Refn sticks with the gritty, in your face realism of his first feature. Here in his second feature there’s a closer, more personal look into the life of a family that’s falling apart, all due to the husband’s inability to express himself or seek out what he truly wants, instead opting to go along with the status quo – get married, have a kid – when it isn’t what he wants.
The results are tragic and violent.
And ultimately, blood begets more blood.
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The biggest, most evident part of Bleeder is how Leo (Kim Bodnia) is so obviously jealous of the single life. More importantly, his problems with the movies, the difference between reality and fiction are what bother him most. See, Lenny (Mads Mikkelsen) is a cinephile, much like myself. He spends a good deal of his time immersed in the world of various directors, auteurs and blockbusters and everything in between. At the same time, that also paints Lenny’s view on life a little unrealistically.
Or does it?
Compared to Leo and his fucked up life, the life he fucked up all on his own, the way Lenny approaches life is quite normal. Also, he looks at what Leo has and wants that while Leo is busy shitting all over it. Lenny’s a more reserved type, likely hoping a movie romance is going to fall into his lap, as well as maybe he’s a bit too reserved, a little anti social. But Leo is stuck in a life he’s not so sure he wants to live. His wife Louise (Rikke Louise Andersson) is pregnant, he doesn’t truly want a kid, then of course he winds up beating the hell out of her. So when he rags on Lenny for watching too many films and when he rages against a movie because it’s unrealistic, what’s really going on inside is that Leo is jealous.
He wants a different life, but won’t get one. Can’t now. So instead he decides to take control, unlike Lenny who he sees as aloof in the obsessive world of cinephilia. He buys a gun, he acts like a movie tough guy but in real life. However, in real life there are consequences. In the movies we see gangsters beat up on their girlfriends and nothing ever seems to come of it. They get off with everything, free to do as they please, to whomever they please. When Leo takes it upon himself to make his life into a real live motion picture, he also must face the consequences. Even better, the climactic moments of this story are wild and almost outrageous. Yet still they’re all too real. So real in fact that it’s almost nauseating.
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The gritty qualities of the film are paralleled in the ultimate nasty, defining moment that comes in the last twenty minutes. Added to that, Kim Bodnia – perhaps the world’s most underrated actor – gives us a stellar performance. There’s a scene where he comes to and find himself tied up, hanging from chains, and there’s this odd, moaning sound that emanates from him, louder and louder, longer and longer. It’s actually chilling. Even before that he does a fascinating job with a despicable character. You can see him cracking, gradually, then over the course of the film watch him drift into oblivion. There’s a good progression to the character and it’s only made better with Bodnia in the lead, doing a fine job like he did with Refn’s Pusher as Frank.
Similarly, Mads Mikkelsen is awesome as Lenny. He is one of those actors that has wide range. In some projects he plays creepy, scary characters. Here, he’s a timid and shy guy that has trouble reaching out to women, and instead of being creepy or inappropriate merely keeps to himself. So there’s a nice quietude in his character in juxtaposition with all the horrific realities of Leo’s situation. Watching Mikkelsen an Zlatko Buric together in the video shop is a treat, so different from their interactions in Pusher. They have good chemistry. But Mikkelsen really takes us into Lenny, and you can’t help rooting for him to finally push through to meet that girl he’s interested in.
Finally I cannot forget Levino Jensen playing the character of Louis, the violently racist brother to Louise. This guy is actually endearing in the early parts, even if you know he’s a bit of a hard ass. He just has this affectionate quality to him when with his sister particularly. Then there’s a switch, as Leo oversteps his boundaries and abuses Louise. Afterwards, we see Jensen break out in the character, making Louis into an intimidating person despite his stature. That’s the mark of a solid actor, when the physicality is second to the pure, intense emotion they can bring to a part. Jensen is such an actor, which I honestly didn’t expect. But he adds plenty to the film with his performance.
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As opposed to other works from Nicolas Winding Refn, Bleeder is a simple piece of cinema. That’s not to say it’s dumbed down. In fact, it is exactly the opposite. It is raw and to the point, it is brutish, bloody nearing the end and always compelling. This is a close view of violent men; not in the movies, but in real life. Whereas Lenny ends the film embracing a corporeal romance, something palpable and not only the world he loves in the movies, Leo winds up falling into a real life event and story which mirrors the best, bloodiest pieces of cinema out there. It’s perhaps this final hideous act of violence involving Louis and Leo that forces Lenny towards finally stepping into the world, outside the camera’s frame, and finding a life that doesn’t only involve the fictional space of film.
This is a great movie that does not get enough credit. It’s honest and open, while also having an almost surreal aspect in its more intense moments. Refn will always divide people, but I wil always find him interesting, even if I come across something eventually that I don’t like. For now, it’s all good, baby!

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Dealer’s Refn-Inspired Parisian Crime

Dealer. 2014. Directed by Jean Luc Herbulot. Screenplay by Samy Baaroun & Herbulot.
Starring Dan Bronchinson, Elsa Madeleine, Salem Kali, Bruno Henry, Hervé Babadi, Dimitri Storoge, Fatima Adoum, Didier Mérigou, Emmanuel Bonami and Franck Boss. Multipass Productions/Mad Films-Mi.
Unrated. 75 minutes.
Action/Crime/Thriller

★★★1/2
POSTER
Ever since Nicolas Winding Refn brought the Copenhagen drugworld out in all its gritty, raw glory with Pusher twenty years ago, many other filmmakers have tried their best to attain the same level of magic with their own tales of the mean streets in various countries. Most recently, I loved Gerard Johnson’s Hyena, which definitely pulled from Refn yet kept its own vibe in tact with lots of dubious police morality, a few nasty splashes of blood and plenty of the ole ultraviolence.
And now, we have Jean Luc Herbulot coming at us with the 2014 crime-thriller Dealer. There are absolutely bits and pieces of the film which exhibit influences of Refn. At the same time, there’s a little more action here, more dialogue, and certainly there’s the differing narration in this movie which sets it apart from any of its influences, Refn or otherwise. And while it isn’t a perfect crime-thriller there are a ton of impressive sequences, well-written scenes, as well as debilitating moments of violent action which propel us into the French underworld, filled with odd and quirky characters, drug dealing pieces of shit, murderers, and a whole lot more. Herbulot may not succeed on every note, hitting a few that call to mind too much other films. But outside of that, Dealer is a lot of fun – grim fun, at that. If what you’re looking for is another guided tour through the drug life of a middle man dealer in the gutters of Paris, or what could be any major city with a taste for illegal substances, then this is certainly a film you don’t want to pass up.
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Always dreaming of going to Australia with his daughter, drug dealing Dan (Dan Bronchinson) is in a bad way. His life isn’t exactly stellar, trying to navigate a rocky relationship with separated wife Léna (Maïa Bonami), sleeping with a prostitute named Chris (Elsa Madeleine), all the while attempting to exit the cocaine business to make his dreams come true.
When Dan is offered a once in a lifetime opportunity he must remain a little longer as a cocaine dealer. Except in a twist of fate, the drugs he’s given – worth 70,000 francs – end up disappearing, which leads Dan and his tenuous associates on a fast thrill ride through the underbelly of Paris looking for the culprit. And worst of all, his family finds themselves in the cross-hairs of his disgusting business, and the conclusion will be tough; for every last person involved.
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One sequence I loved is where Dan walks the streets, mourning the loss of his cocaine and stressing over where to get the money he owes for it. His red jacket is the only colour visible in the frame for a while, as he smokes and pushes through crowds of people. Best of all, he sees everything from cellphones to shoes to jackets, and more, with price tags next to them. Tallying up how much he’d have to steal and hawk in order to make up the 70,000 francs, which is the equivalent of nearly $100,000 in American and Canadian dollars. This whole sequence is great and gives us more than just the raw style director Herbulot goes for most of the film; not to say I don’t enjoy that, it’s just nice to see more than one technique displayed.
Above all, it’s the intense pacing of the film I enjoyed. Whereas many crime-thrillers, particularly those with twisty plots, sometimes find themselves with a slow pace due to heavy dialogue, too much exposition, or any number of issues, Dealer succeeds in keeping things fast paced, exciting, from the very beginning straight into the finale. That’s one thing that helps Herbulot distance his movie from Refn – not that he needs to, but you know what I mean. The fact Herbulot keeps the film speeding from scene to scene is impressive work, as we could easily find ourselves bogged down in so many details, too many characters, too much violence. However, this never ever happens. Not once was I looking at my watch, as has happened in the past with other similar films. In fact, the 75 minute runtime whittles away incredibly quick, and I was surprised during the final 15 minutes when I realized everything was almost finished. The lasting impact of the few final scenes is especially resonant. Again, it brings to mind quite a bit of the way Refn ended his first Pusher. Although, I found the writing here from both Herbulot and Samy Baaroun leaves Dealer in a much more intense, chaotic, and even scary place. Refn did a much better job on the whole, but Herbulot could certainly pick up and make his own Pusher sequel, that’s how well executed this film comes off.
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With a few pieces I thought could’ve been fine tuned a little more, Dealer is still a 3.5 out of 5 star crime-thriller. Plenty of action, lots of the grime and grit we seem to expect these days from stories such as this, and on top of that the performances are full of energy, which matches the pace Herbulot and Baaroun set with their screenplay. You can certainly do a whole lot worse if you’re looking for a thrilling crime film to pass the time. Apparently the lead actor has experience in this sort of world, quoted as saying almost 70% of it is straight out of his own life. So that’s another wild aspect. Regardless, this holds excitement, brutality, and even the rare touching moment near the end. Dealer certainly keeps up the future of crime films, joining the ranks of Refn, Gerard Johnson and others who have depicted the criminal underbelly of the world in a highly stylized and intriguing fashion. I’ll be keeping Herbulot on my radar from now on. Hopefully he’ll follow up with something equally as impressive.

Refn Looks Back on the Criminal Life in PUSHER III: I’M THE ANGEL OF DEATH

The second sequel to Refn's groundbreaking PUSHER is a bleak look at the end of the road for one Copenhagen druglord, as he juggles recovery, family, and business on a very special day for his daughter.

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