Tag: France

THE STRANGLER (1970)

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Written & Directed By: Paul Vecchiali

Cinematography: Georges Strouve

Editor: Francoise Merville

Cast: Jacques Perrin, Julien Guiomar, Eva Simonet, Paul Barge, Jaqueline Danno, Katia Cavaignac, Jean-Pierre Miguel, Helene Surgere, Sonia Saviange, Nicole Courcel 

Unhappy women are being murdered by Emile, a psychotic young man suffering from the delusion that his acts are mercy killings.

The title seems simple, but there is a deeper meaning, and this film proves to be so much more.

This might’ve been regular fashion back when it was made but everything feels so stylistic Maybe because, to a modern audience, it is so far and was made to feel that way. As it is a French Giallo that provides less mystery and violence and seems to be more about the setup

The first kill in this film seems like the victim, experienced it, and welcomed it. It comes off as stylish and fetishistic in a romantic or erotic way

And choosing his victims, the title character it seems like they welcome him and aren’t surprised last encounter liaison or fling before the end so that it’s almost romantic and putting them out of their misery or granting a last request.

Which ends up setting the tone for the film as a romance yet not a love story 

Almost like his actions are doing the victims of favor, as they are suicidal and feel they have no reason to live anymore. He offers assistance So they don’t do it themselves. Or go through the experience alone, nor have to worry about depending on their morals or beliefs going to hell, necessarily if religious

The victims, female, fashionable, and gorgeous, and presentation before their last breaths

The choreography of the floor show of one victim’s death scene is memorable and a delight, its style or international attitude and ideas.

The film can be drilled yet makes much out of a little and remains truly unforgettable, as well as an underrated gem that can easily throw an audience a bit of valance as the film goes on. We get to know the victims a bit more as we see the melodrama with each new one giving them, brava last scenes of their character’s last moments

We never see the actual kills only the before, and a bit of the aftermath to know that the deed was done

Wow, also witnessing the investigation of the case buying adults, Nancy, Drew, the character, and the police captain who start a kind of romance or at least a relationship hence toward romance

We watch as the killer gets upset as someone perverts his act of mercy per se by following him to the crime scenes and then stealing from the victims, making it seem like the killer’s motives are more about material gains making his gift seem  more common and presents a rivalry

Victims come off as if they feel forgotten or betrayed by the world, or maybe just betrayed by a man or lover, and they will finally be immortalized and die and finally get attention special before the end. This desperation makes them feel sparkling before putting them out of their misery.

Presented as glamorous the Weathered it feels like a Hitchcock film as it has it set pieces that are usually the murders that come off as artistic and depth at times. As the film plays, Layfair and laid-back, not too concerned or drastic despite the actions and the film’s move.

When it comes to Giallo there is a certain beauty it provides it showcases. One of the reasons I like them is that they know how to present the female characters stylishly, sensual, gorgeous and fabulous. Like screen sirens. Sexy for sure but not cheaply classy and less exploitive all about beauty. They feel like women Of class and culture. It’s presented more as normal not necessarily down to earth. Special in fact but somehow normal and approachable

Amongst the crowd with Imperfections seemingly edited out. 

The Death scenes feel like little short stories that offer glimpses of life lives and characters are given more dignity and death than might’ve had in life

They are double-crosses as the thieves seem to turn to murder groupies with funny emotional moments of turmoil as the third act is dragged out, but has plenty of beautiful moments

The film is more than just its simple title. This Gallo is a weird romance of the killer, granting his victims, and lovers wishes and making them feel special. Laissez-faire laid-back look at the serial killer and the investigation around his killings. That seems to be in no rush and strives to be more artistic than surprised filled or a procedure, except for a random dream sequence. The film is never exploited but creative and its simplicity is not so much a psychological study nor a thriller

The synopsis seems conventional, but that’s the film’s artistic aim. It has mainstream scares with deeper meanings and emotions in between that get confusing at the end and make it more cultivated.. there is also a boom mic visible in the final scene

The murder towards the end seems to be out of a discussion with the society around him, which is depressing as even the film feels like it betrays itself towards the end. There is even a boom visible in the final scene 

The film also has a great score 

Grade: B+

DOBERMANN (1997)

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Directed By: Jan Kounen

Written By: Joel Houssin

Cinematography: Michael Amathieu

Editor: Benedict Brunet and Eric Carlier

Cast: Vincent Cassel, Monica Bellucci, Tcheky Karyo, Romain Duris, Antoine Basler, Dominique Bettenfeld, Francois Levental, Ivan Marat-Barboft, Pascal Demolon, Marc Duret, 

The charismatic criminal Dobermann, who got his first gun when he was christened, leads a gang of brutal robbers. After a complex and brutal bank robbery, they are being hunted by the Paris police. The hunt is led by the sadistic cop Christini, who only has one goal: to catch Dobermann at any cost.

This film is definitely a byproduct of the 1990’s. It had plenty of energy and played like a hyper-Tarantino crime tale with way more action. That seems like it retains a villain more over the top than the anti-heroes.

Actually, it plays more for an audience who loves Writer-Director Quentin Tarantino’s films that take too long and are too slow to get to the action. Even though this film builds over its running time to a big climax filled with tension. 

The film feels like it is on drugs at the speed it goes through and lacks certain details. It feels cruel in a sense yet tries to be fun In other ways.

Tchkey Karyo is way over the top and means just to be. Think Gary Oldman in THE PROFESSIONAL, but miles past him in strangeness and chewing scenery.

Though that is the main problem of the movie is that there seems to be a lack of motivation or explanation for most of the characters or much of the action. Half the time it seems random or as a result of an extension of a character.

As it is based on a graphic novel, maybe it is better explained in the source material. As here it seems to be a greatest hits quality. That plays exactly like a comic book in feel and texture. Even though the supporting characters are quirky and have their defects. They carry the film over more. As the leads seem there more to look cool.

While it’s nice to see Vincent Cassel and then wife Monica Belluci together and in love on screen. Even Belluci seems to do more acting than Cassel here as he seems more to be the lead and there to look cool and be a mastermind over all else.

 it feels like a down-and-dirty popcorn movie. That would have gone even further in popularity if it had a better soundtrack. 

It’s a film that is a nice try as it is stylish all over the place, but once you get over it. There isn’t much there except to wonder. If the director had better material would this be much better? 

Grade: C

TROUBLE EVERY DAY (2001)

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Directed By: Claire Denis
Written By: Claire Denis and Jean-Pol Fargeau
Cinematography: Agnes Godard 
Editor: Nelly Quettier 

Cast: Vincent Gallo, Tricia Vessey, Beatrice Dalle, Alex Descas, Florence Loiret-Caille, Nicolas Duvauchelle, Raphael Neal

Shane and June Brown are an American couple honeymooning in Paris in an effort to nurture their new life together, a life complicated by Shane’s mysterious and frequent visits to a medical clinic where cutting-edge studies of the human libido are undertaken. When Shane seeks out a self-exiled expert in the field, he happens upon the doctor’s wife, another victim of the same malady. She has become so dangerous and emotionally paralyzed by the condition that her husband imprisons her by day in their home. It is Shane’s chance encounter with this woman that triggers an event so cataclysmic and shocking it might just lead him to rediscover the tranquility he seeks to restore for himself and his new bride.

Not going to lie, the whole reason I wanted to see this film is Beatrice Dalle. Who has had me captivated since her role in Jim Jaramusch’s NIGHT ON EARTH and have been catching up with her roles from the past to the present ever since.

So it was her being in a vampire film before that seemed to become a trend In The 2000s and also Vincent Gallo is in the film and he usually makes whatever he is in a little more vibrant and interesting.

This is a movie that tries in modern times to present a fable connecting vampirism to lust. The character played by Beatrice Dalle is insatiable and seems to constantly need to feed. So much so that she has to be kept locked up and away. As she is a beast that Can’t be contained. Her raw female sexuality comes out while she gets her prey by seeming more innocent yet confident in her sexuality.

She is sloppy, scantily clothed in a nightgown stained with blood like an animal but she still contains beauty.

The longing for blood comes across as more sexual with an extreme fetish the participants only find out about too late. 

Vincent Gallo is her old lover who has moved on and has a younger wife. He has been able to contain his vampirism and come off as a regular Joe. Though he is drawn back to her. Even as she has a husband who never quite knew what he was getting into, but accepts his responsibilities and tries to help the love of his life in his own way. Hoping she will become satisfied and normal. 

The film is brutally violent and contains a lot of anticipation that never quite lives up to the promise. 

However, it does show a romantic side as in the scene where Dalle’s husband is cleaning the blood off of his feral wife after she seduces and attacks another victim. Shows a devotion that goes above and beyond. He loves her so passionately that she eats her partners. He supports her. Even as he knows he can’t be with her intimately or it will be the end of him. He also knows and worries about who will take care of her if he leaves or something happens to him.

As he knows no one will be as devoted. Yet he continuously longs for her and has made his own kind of sacrifice for her. The epitome of a nice guy. Who does everything but doesn’t have that spark and still wants your old lover who you both were bad for each other but still carries a certain bond. 

The film leaves you in the audience to pick up on details and read into the film what you believe may or may not be true. 

We watch as their acts are made attractive and delectable. More part of the act of pleasure that goes along with it.

I’m not going to lie, this was my first time watching a Claire Denis film. So I didn’t know exactly what to expect. So by the end, I was disappointed immensely and a little confused. Since then I can’t say I have watched much more of her work. I believe only two other films. Only one can I say I truly was mesmerized by  35 SHOTS OF RUM

Ultimately the film’s promise seems wasted. As we wait for major parts of the story to move or more action that never seems to come.

Nor is any of the setup really acted upon dramatically. As it is never touching or moving really. Unfortunately, it comes across as boring and like it wants to mean something and say something but ultimately doesn’t.

Grace: C-

MANDIBLES (2020)

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Written, Edited, Cinematography & Directed By: Quentin Dupieux

Cast: Gregorie Ludig, David Marsais, Adele Exarchopoulos, India Hair, Romeo Elvis, Coralie Russier, Bruno Lochet, Raphael Quenard

When simple-minded friends Jean-Gab and Manu find a giant fly trapped in the boot of a car, they decide to train it in the hope of making a ton of cash.

This film should have worked. One really wanted this one though unfortunately can only point out a few highlights that help the film stay watchable.

It’s a buddy comedy along the lines of DUMB & DUMBER with a little crime narrative of THE BIG LEBOWSKI and involving a gigantic fly that the two friends try to use as a pet and a way to riches.

Somehow doesn’t exactly connect with an absurd plot element that should have been the highlight of the movie.

Instead, the saving element of the film is actually the performance and character played by Adele Exarchopoulos who is hilarious and only in the movie for 30 minutes. Even though the movie is under 90 minutes. Once she arrives she is what the movie needs and once she leaves she is definitely missed. The energy of the film seems to go with her. You wish that the film had mostly been based on her character 

Which shows that the movie’s humor is more character-based. That should be more the inspiration, though that feels like the only genuine spark of originality of that kind. The main characters are boring and the one fantasy element becomes common so fast. That it feels cheapened. 

The film then seems to settle into punchlines of Jokes that were set up earlier.  

You can tell the movies the film was influenced by. As truly the comedic elements here are the more out-there elements such as the big fly and the brain-damaged woman. Who is suspicious of them? Yet the so-called regular characters believe they are stupid but okay.

In the final act, the only true comedy is their delivery and what it ends up being. That feels like much ado about nothing.

Grade: C 

WEEKEND (1967)

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Written & Directed by: Jean-Luc Godard Based on the short story “LA  AUTOPISTA DEL SUR” By: Julio Cortazar  Cinematography: Raoul Coutard  Editor: Agnes Guillemot

Cast: Mireille Barc, Jean Yanne, Jean-Pierre Kalfon

A supposedly-idyllic weekend trip to the countryside turns into an endless nightmare of traffic jams, revolution, cannibalism, and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations.

Throughout this film, we follow a truly unlikeable couple on an endless journey/trip. Who terrorize or are terrorized by all they come across. It gets a bit meta as they know they are in a film. They continually wander into different narratives, scenes, or stories.

They keep coming across more dead people throughout the road and it feels a bit post-apocalyptic at certain points.

The film is episodic that stays with the couple and their various interactions with others. It gets continually ridiculous. As it feels like a stylistic comedy with deeper ramifications with plenty of unexpected philosophy and what feels like satire.

Thought this would be one of his more divisive movies. Where it’s an experimental concoction, but this ends up becoming an almost film. As it was one of Jean-Luc Godard’s films I might actually like and dare I say almost enjoyed it completely.

Though his films fascinate me and keep me coming back to discover. As he or the films usually have something to say or present.

Either that or more commonly he and his films fit the case of the tale of the emperor’s new clothes. Where there is nothing really there, yet people pretend there is, which can be said of a lot of celebrated directors by many people. 

One can admit to being more of a fan of Francois Truffaut’s films. His fellow film enthusiast, reviewer, and co-worker at the legendary film magazine Cahiers De Cinema. 

Godard is a director I can truly call an auteur. As no matter what there is a discussion to be had at the end of his films and no one can call them simple. There is no other director like him though many have tried. one can see how he has inspired so many. 

This film actually feels playful and fun despite the absurdity. As it is most and tends to turn in a dime at times. The first hour has so much craziness but keeps you engaged that when the second half comes along with that same craziness but it starts to feel like a philosophical lecture. Even if he leaves it to the audience to figure out or read into it. 

As always this happens just when I was ready to accept and enjoy. He then pulls the rug under you.

Like the recent film TENET at times the soundtrack is louder than the dialogue. Thankfully there are subtitles throughout. Though if they were left out it would rise to the challenge the director seems to desire. 

The opening scene is certainly erotic with just the power of words and suggestions.

The film Of course has the legendary amazing tracking shot of the endless traffic jam and what various cars and people are all doing during. While the main couple’s car tries to get along the way. Where there is violence and games It ends brilliantly. 

Grade: B

CALVAIRE (2004)

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Directed By: Fabrice Du Welz
Written By: Fabrice Du Welz and Roman Protat
Cinematography: Benoit Debie
Editor: Sabine Hubeaux 

Cast: Laurent Lucas, Philippe Nahon, Brigitte Lehaie, Jean-Luc Couchard, Jackie Berroyer, Jo Priesta 

Marc, a traveling entertainer, is on his way home for Christmas when his van breaks down in the middle of a jerkwater town with some strange inhabitants.

This seems to be a film that expands on the scariest most memorable scenes of the Film, DELIVERANCE

The film illustrates how loneliness and the absence of a partner, particularly a woman, drives a small town mad. Is it a small town or are there different representations of one man?

Though against the other’s will.  it does at times, feel like the mechanic is a romantic in his own way.

The film comes off as eager to disturb and unsettled its audience 

While the film shocks, it’s slow as it takes its time to reveal and get to know the characters. Who you can tell he is quite disturbed by the appearance of the young man looking for his dog.

The main character seems to attract or cause desire, and those around him. Usually, it’s for his job as an entertainer so it seems to take a personal interest and his audience. 

By the end, it almost seems like karma has led him into this nightmare scenario, even though he hasn’t done anything to be hourly cruel.

This is why it sometimes feels like an extended TALES FROM THE CRYPT episode only cruel and with little to no humor, as well as no actual score with a mean-spirited comeuppance 

Some sequences are just bizarre that seem to come out of nowhere like the dancing at the bar that is strangely choreographed. Or the pig sequence in the barn, which is just downright nightmarish, but also hints of what might come. 

There are hints of bestiality abound as a given replacement for the absence of females in physical Ways, but also companionship whether that is meant to be symbolic or not that is how it comes off. It’s insulting, but also shows the growing nature of relationships with pets to take the place of what is absent in the person’s life

The film shows a disturbing and bloody nature that could be used to categorize the film as French extreme, one of the earliest examples of the genre. 

Oh, the film is dirty in all the more disturbing as it feels realistic and not like a slasher or meet-up horror scenario. 

It  takes place in a town that apparently only had one woman once, and wisely escaped if she had to go through half of what the leaders 

In the end, the film is a story of a man fighting for survival and Just unsettling, but in a familiar Milieu. 

This definitely seems made to appeal for a specialty cult audience

Grade: C

BABY BLOOD (1990)

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Directed By: Alain Robak
Written By: Alain Robak and Serge Cukier 
Cinematography: Bernard Dechet 
Editor: Elizabeth Moulinier 

Cast: Emmanuelle Escourrou, Christian Sinniger, Jean-Francois Gallotte, Roselyne Geslot, Francois Frapier, Thierry Le Portier 

When a strange creature crawls into a woman’s uterus she becomes a killer in order to feed the tiny terror growing within her.

This is one of those movies that came from nowhere for fame. I had never previously heard of this film and decided to take a chance at it. While scrolling through Shudder.

This Is definitely a film made for horror fans. The theme of this film seems to be literally at first men’s horniness will be the death of them. Most don’t come off well throughout the film.

As the lead female played with total commitment and energy by Emmanuelle Escourrou.  who gets infected by this parasite at first is reluctant to go through with what the parasite is forcing her to do. Working her way as a seductress to entice more victims. As she already had men all over her, even when not trying, though she was in an abusive relationship and the one man she wanted to have no interest.

The parasite in her uterus wants her to kill but not for blood or the remains. The film never seems to answer the reasons why. Just the act sets this film apart from similarly themed films in its wake like GRACE or PREVENGE.

As the parasite grows into a baby after sex and while psychically communicating and controls her more through pain and threats. So it’s almost like she is in an abusive relationship again. 

The film presents the killings not from a need, not from a maternal instinct of trying to help her child survive. As it says it wants blood but we rarely see her take it. 

The first half of the film is presented episodically like short stories of her next kill. While still on the run. 

The film offers plenty of nudity and some sex, but it’s never quite erotic, exotic, or sexy. The filmmakers do have some artistic tendencies in the film, but it seems like with a Troma Studios-type budget. That ends up having the movie feel slightly exploitative. 

The film at times feels quite silly, but it never lets loose to have fun with its wacky premise.

The film never goes where you expect. As once you believe you have it figured out. It goes another way.

GRADE: B

LES MISERABLES (2019)

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Directed By: Ladj Ly
Written By: Ladj Ly, Giordano Gederlini and Alexis Manenti
Cinematography: Julien Poupard
Editor: Flora Vol Peldiere 

Cast: Damien Bonnard, Alexis Manenti, Djerbil Zonga, Almammy Kenoute, Issa Percia, Al-Hassan Ly, Steve Tientchau, Nizer Ben Fatem, Raymond Lopez, Luciano Lopez, Jaihson Lopez 

A cop from the provinces moves to Paris to join the Anti-Crime Brigade of Montfermeil, discovering an underworld where the tensions between the different groups mark the rhythm.

This film feels like a mixture of the films END OF TOUR and TRAINING DAY only set in France.

The film shows the hostility between the residents of a neighborhood and the corrupt cops who hassle, rob, and torture them. Until one day they decide to strike back. Some In the neighborhood are no innocents but they are not all bad and they are human beings, yet they are never treated like them.

The film has an intensity throughout that keeps you on the edge of your seat and offers viewers another picture of France different from the tourist attractions.

The film shows or sets in motion how a minor incident has huge repercussions. Especially when there has been a growing hostility underneath the community for so long.

The film is also a celebration of the country the characters love and how they are treated or mistreated by it. As the film’s cast is a melting pot of immigrants trying to settle into the country. While showing how a new generation learns and takes over from elders who are too passive and want to stand up for themselves to liberate themselves and demand respect. Which they do by taking action.

The film mostly takes place after the Incident in which the cops trying to work it out, end up butting heads with new partners who have different philosophies when it comes to police work. How things are supposed to be done versus how they must be done to have any effects 

How it affects cops and citizens both as the scary part for each of them. As well for us in the audience is that we never know what is going to happen. Each side is stressed to the breaking point.

On the streets, they have no choice but to beat each other up or snitch on one another for survival short of killing. 

As the police are their own gang against all others with a false sense of power, abuse, and loyalty that comes back to haunt them. As they stick together not out of loyalty but out of survival and duty. It offers a spellbinding ending. 

If you are into energetic and vivid street stories this might be the movie for you. As it shows the many injustices that citizens must go through just to survive. 

This feels like the film the recent release ATHENA was trying to be or have the same effect, only a bit more personal

GRADE: B+

SUMMER OF 85 (2020)

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Written & Directed By: Francois Ozon

Based on the book “Dance On My Grave” By Aidan Chambers

Cinematography: Hichame Alouie

Editor: Laurie Gardette

Cast: Felix Lefebvre, Benjamin Voisin, Philippine Velge, Valeria Bruni Tedeschi, Melvil Poupaud, Isabelle Nanty 

When 16-year-old Alexis is caught up in the deceitful Normandy sea, David heroically saves him from drowning. And, this is how Alexis meets the person of his life. But, how long will this tumultuous, dreamy relationship last? Will the dream last for more than one summer, the summer of 85?

The film doesn’t go where you expect it to go. What keeps you guessing and mystified when it comes to his film is how it plays with time throughout and leaves you expecting the worse when things are mostly innocent 

It feels a bit similar to CALL BE BY YOUR NAME. As it is a coming-of-age love story between two males of intense feelings and obsession, but yet always feels a bit more of a thriller than a true romance. Though then again young love can be innocent and messy.

Even though nonchalant It’s not even truly coming out film. As it is all relatively handled with no big revelations. Though shows itself as a love story and not one of lust or dangerous obsession 

The film runs on expectations. So that as it goes along. You constantly feel a sense of dread. Always looking for clues, hints, or motives. 

All seems to go well until a girl is thrown into the mix. Even when she had the best of interests. Proving to be loyal to all.

The main characters are the rebellious carefree type versus an introverted romantic. At first, he believes it is all in his head and just an innocent friendship. Then he realizes he is being seduced. Even though the more aggressive character might be bisexual or a sensationalist, narcissistic and not prepared for his feelings. Especially being so young, not ready for the intensity.

By the end, you find instead of a thriller you have gone through a dark drama. That also feels like a string after-school special or a coming-of-age film that has thriller elements. 

Grade: B-

JUMBO (2020)

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Written & Directed By: Zoe Wittock 
Cinematography: Thomas Buelens
Editor: Thomas Fernandez 

Cast: Noemie Merlant, Emmanuelle Bercot, Bastien Bouillon, Sam Louwyck, Tracy Dossou

Jeanne, a shy young woman, works in an amusement park. Fascinated with carousels, she still lives at home with her mother. That’s when Jeanne meets Jumbo, the park’s new flagship attraction.

This film will remind some audiences in the know of Titane. As they have particular storylines that are similar but are in Totally different ways.

The French film, TITANE is dark and about more than necessarily meets the eye. Where it has things to say about many subjects. This film Is sweeter and has no pregnancies though it is a fairy tale based On reality and tries to keep matters at hand. 

This film has a sweetness but doesn’t ignore its own implausibility. As it even has the character question her sanity. Though her own faith shows through. We in The audience begin to question as we see erratic behavior and every time there is something fantastical involving others we never see it as random there is a logical reason for it all. 

The film doesn’t shy away from sex but it doesn’t make it feel tawdry it feels erotic but more out of innocence. 

Even those close to her who doubt her and her sanity. We are left to wonder if they are doing it for their own self-interest and out of jealousy. 

As the main character feels like a typical one you would find in a quirky romantic French film. She looks and dresses like a shy teenager even though she is a young woman in her 20’s.

The movie starts off innocent and as it goes along it gets more serious and into more issues and questions that are surprisingly asked. That is usually left out in films with scenarios such as these. 

Noemie Merlant really shines in this film. She stays believable and strong even though her character can be weak at times and doesn’t speak up for herself. She seems to run away rather than confront. Though she gains our sympathy and soon finds ourselves rooting for her. As we watch from the beginning her character is a tomboy but wears such shapeless clothes we wonder if she is in arrested development. through it all even in various sex scenes. She still seems like an innocent more than anything.

Emmanuelle Bercot as her mother is also strong. As a hard-driven woman. She has had her heart broken quite a few times and wants to believe in love but finds herself defined by the company she keeps usually male. She wants the best for her daughter but that seems in the daughter more or less getting into a relationship and finding a man. As she tries to act more like her sister than her mother. She is tough to a certain degree but has a soft spot for her daughter that she rarely shows.

This is a film that might not always make sense but it does have a charm that is constantly on display and tries to always stay in reality. Even with its more fantastical elements.

Grade: B