Category Archives: International Thriller

Anatomy of a Fall-2023

Anatomy of a Fall 2023

Director Justine Triet

Starring Sandra Hüller, Milo Machado-Graner

Scott’s Review #1,422

Reviewed March 4, 2024

Grade: B+

The taut legal thriller, Anatomy of a Fall (2023) is rich with mystery and almost immediately offers the viewer a character’s surprising death. The rest of the film is spent trying to figure out how the death occurred as a trial surfaces.

The mountainous puzzle made me as the viewer anticipate a shocking conclusion or at least a cemented ending leaving nothing to the imagination.

In plain terms, I wanted to know why the character died, at whose hand, and how the act was done.

As good as the film is the ending underwhelmed me. I was left wanting more than I was offered. This is undoubtedly a result of the enormous buildup.

However, the effort is spectacular, and some of the year’s best acting is showcased by Sandra Hüller and Milo Machado-Graner, who give rich and dramatic performances. They stay believable and nuanced in challenging, teary scenes. 

Sandra (Sandra Hüller), her husband Samuel (Samuel Theis), and their eleven-year-old son Daniel ( Milo Machado-Graner) live a secluded life in a remote town in the French Alps.

Tension develops when Sandra, who is a writer, is interviewed by a reporter at home as they sip and enjoy wine. Samuel ruins the moment by blasting an obnoxious song loop causing the interview to be aborted.

Suddenly, Samuel is found dead in the snow by Daniel! The police question whether he was murdered or possibly committed suicide. Samuel’s suspicious death is ultimately presumed murder, and Sandra becomes the prime suspect.

As the trial begins, the events of Samuel’s death are uncovered while the complexities increase. A disturbing journey into Sandra and Samuel’s troubled relationship is explored with Daniel being at the center of the drama.

Anatomy of a Fall is a slow-moving vehicle but that’s a large part of its appeal for me. After Samuel’s death, the film features quiet scene after quiet scene of Sandra and Daniel being interviewed by either their lawyers or others involved in the case.

While not action scenes, the dialogue reveals an incredible amount of backstory. An incident that occurred years earlier is key and the remnants of that unfortunate activity are vital to the entire reveal.

With tremendous acting the film is also significant in scoring Justine Triet an Oscar nomination for Best Director when shamefully few female directors have ever been given this distinct honor.

Unfortunately, Triet’s nomination comes at the expense of Greta Gerwig NOT being nominated for the ginormous blockbuster hit Barbie. I’d give the nomination to Gerwig but why couldn’t they both be nominated?

Triet also wrote the screenplay and wisely crafted an unpredictable vehicle. Since Sandra is on trial the writing could have felt forced or generic but it doesn’t. There are also no silly television drama moments of unnecessary legal jargon or canned shocking tense moments.

What Triet serves up is genuine and humanistic.

The cold and snowy atmosphere reminds me of a Swedish film from 2014 called Force Majeure with a similar story of uncovered secrets and backstory. They are both set in the French Alps ironically enough.

I expected more from the ending but Anatomy of a Fall (2023) mesmerizes and keeps one guessing never feeling boring like some legal dramas can.

While Triet’s Oscar nomination may be questionable, Hüller’s is not and I’d even argue she deserves to win.

Oscar Nominations: 1 win-Best Picture, Best Director-Justine Triet, Best Actress-Sandra Hüller, Best Original Screenplay (won), Best Editing

Independent Spirit Award Nominations: 1 win-Best International Film (won)

The Zone of Interest-2023

The Zone of Interest-2023

Director Jonathan Glazer

Starring Christian Friedel, Sandra Hüller

Scott’s Review #1,419

Reviewed February 2, 2024

Grade: A

The Zone of Interest (2023) offers a unique experience for its audience. It’s one of a distant observer to unthinkable horrors and events that took place during the 1940s occupied Poland.

A lovely estate rife with flourishing flowers and plush gardens surrounds the haunting setting of the Auschwitz concentration camp.

Exterminations and unspeakable acts of human suffering occur daily whilst a German family enjoys their dream home hardly unnerved by what’s going on steps away.

The father is the mastermind behind the suffering.

The macabre film is extraordinary, and powerful, and will haunt you long after it ends.

The subject matter of the Holocaust in cinema is usually told with a visual examination of the victims. In The Zone of Interest, though, what you don’t see is worse than what you do.

The commandant of Auschwitz, Rudolf Höss (Christian Friedel), and his wife Hedwig (Sandra Hüller) live a seemingly idyllic life with their five children. They fish, swim, and frolic among the confines of their house and garden next to the camp.

Höss is a high-ranking and respected member of the Third Reich. Servants handle chores around the house, while the prisoners’ belongings are given to the family.

As a viewer, I first thought to myself what a happy family they seem to be. I was quickly sickened when I realized what was going on over the top of their high walls and their role in it.

Director, Jonathan Glazer, brought us disturbing films such as Birth (2004) and Under the Skin (2015) and revolts even more with The Zone of Interest. I’m not sure I’ve ever seen a film quite like it.

Usually, what happens in a film happens on screen. Seeing the Jews gassed or shot or tortured is horrific enough. Spielberg’s Schindler’s List (1993) was a masterpiece by visually featuring the nature of the Holocaust in an inventive black-and-white way.

We see the victims.

In The Zone of Interest, it’s the sound that is effective. Beyond the garden wall, gunshots, shouting, and sounds of trains and furnaces are constantly heard.

The nights are even worse.

A quick glimpse of flames and smoke roaring to the sky are the visuals key to the events taking place next door.

We only very quickly see a parade of prisoners march through the grass……once.

Höss approves the design of a new crematorium, which soon becomes operational. With horror, it is confirmed that thousands of Jews are gassed and burned.

Glazer keeps the viewer at a distance with more than just experiencing the unseen. The cameras are set far back from events so the audience observes the family instead of being alongside.

There are no closeups.

The lighting is superior. Muted tones portray the starkness of the period. Effective is how everything appears grey except the flowers in the garden.

Some peculiarities exist that are hard to figure out. In two sequences, a Polish girl who lives nearby sneaks out every night, hiding food at the prisoners’ work sites for them to find and eat.

The film is a clay animation style similar to what Glazer used in parts of Under the Skin. It’s weird, stylistic, and fascinating.

Late in the film, Höss descends a staircase and retches. He does so again. I’m not sure why he does. Is he subconsciously sickened by the death he causes? He has been tasked with a new initiative to transport hundreds of thousands of Hungarian Jews to Auschwitz to be killed.

The mission has been named after him.

Is it too much for him to deal with?

The film ends with a modern scene of a group of janitors cleaning the Auschwitz-Birkenau State Museum before it opens.

I was dying to know what happened to Höss and Hedwig.

It’s a searing film, unforgettable and uncomfortable. It plods and sickens but is pure art. It’s troublesome and a unique entry for Holocaust films. Glazer finds a new way to examine material told in cinema for decades.

The Zone of Interest (2023) is a painful masterpiece and a thinking man’s film.

Oscar Nominations: 2 wins-Best Picture, Best Director-Jonathan Glazer, Best Adapted Screenplay, Best International Feature Film (won), Best Sound (won)

Independent Spirit Award Nominations: Best International Film

They Call Her One Eye-1973

They Call Her One Eye-1973

Director Bo Arne Vibenius

Starring Christina Lindberg, Heinz Hopf

Scott’s Review #1,061

Reviewed September 14, 2020

Grade: A-

They Call Her One Eye (1973) is a marvelously wicked revenge film that is a must-see for any Quentin Tarantino fans since it’s a blueprint for his works to come.

The famous director worked as a clerk at a video store (back when they had video stores) and stumbled upon many odd and wonderful obscure, independent films.

Through the guidance of his stepfather, he was encouraged to pursue his love of film by visiting art theaters and such.

Undoubtedly, They Call Her One Eye was one of his findings.

A young woman (Christina Lindberg) struggles to overcome her tortured past but runs into more trouble when she gets mixed up with a seemingly wonderful man (Heinz Hopf), who ends up being the exact opposite.

After she misses her bus to her job at a farm, the man picks her up and soon has her working as a prostitute and addicted to drugs. Her only chance to escape will be to learn martial arts and exact revenge on her pimp. She spends her time learning to fight and plotting a day of reckoning.

Impossible not to conjure images of Kill Bill: Volume 1 (2003) and Kill Bill: Volume 2 (2004), the film is told from a female perspective and revenge is the recipe of the day.

The main character also wears an eye-patch, following a horrific scene when her eyeball is removed as punishment for being defiant.

Any fan of Tarantino knows that the character of villainous Elle Driver (Daryl Hannah) in Kill Bill also wears an eye patch and is a force to be reckoned with.

The film is focused on the 1970s female revenge genre so the fun is witnessing how badly Madeleine is treated by her pimp and her myriad of clients because we know they will soon be dead.

Director, Bo Arne Vibenius makes no bones about what type of film this is and as a good measure of gender equality, throws in a female client who abuses Madeleine.

They Call Her One Eye is also reminiscent of I Spit on Your Grave, a disturbing 1978 American film with a similar story and more fanfare.

Those with even the slightest hint of prudishness must be forewarned. There is not only extreme nudity (the film is Swedish after all!) but contained within are several pornographic sequences of both vaginal and anal sex.

The scenes are tough to watch, and the unknown is whether the actors appeared in these moments themselves since their faces cannot be seen.

My hunch is that these scenes were spliced in from real pornographic films of the day, but are not necessary or relevant to the rest of the film.

The Swedish locales are lovely especially those of the countryside or farmland and the subtitles are nice to have. The film loses a point because my copy of the DVD is dubbed in English rather than authentically Swedish speaking.

I found this a slight detraction but other viewers may find this just fine.

The fight scenes are mostly done in slow-motion which is another Tarantino stamp. This adds some flavor as the slowed-down scenes become more effective as blood and saliva spattering is at a maximum level.

Madeleine is the clear heroine (no pun intended) of the story so the film doesn’t contain any other good characters except for Madeleine’s parents who quickly commit suicide after receiving hateful letters they think are from their daughter.

Her plight is lofty since she is raped at a young age by a filthy derelict which leaves her mute.

The girl has little luck.

Her pimp Tony is dastardly and when he picks her up on the roadside we know there is terror in her future even though he benevolently takes her for dinner.

They Call Her One Eye is so low-budget that it almost feels like someone walked around with a camcorder and videotaped the sequences. Of course, this only lends credence to the grit the film produces and works exceptionally well for offering a seedy, dirty delight.

Rumor has it that during the eye-slicing scene, recommended for only those with steel-lined stomachs, a real corpse was used. Whether or not this is an urban legend is anyone’s guess.

Fans of Tarantino or those of experimental, artsy, horror meets thriller-lined productions will adore They Call Her One Eye (1973) as it is plagued with richness, disturbing storylines, and much blood.

However, the result will leave feminists or anyone championing women with a small smile on their face after the dramatic conclusion.

A Prophet-2009

A Prophet-2009

Director Jacques Audiard

Starring Tahar Rahim

Scott’s Review #1,034

Reviewed June 18, 2020

Grade: A-

A Prophet (2009), known as Un prophète in the French language, is a prison drama/crime thriller made exceptionally well and told from a character perspective rather than a plot angle.

Skirting any traditional genre prison characteristics, the film instead crafts a character study with the conflicting emotions of its main character taking center stage.

The result is a layered, complex experience led by a brilliant acting turn by actor Tahar Rahim.

Malik (Rahim) is a nineteen-year-old French youth of Algerian descent imprisoned for six years for attacking police officers. Friendless and unable to read, he is vulnerable and coaxed into murdering a witness involved in a crucial trial.

He becomes embroiled in tensions between the Corsicans and Muslims who populate much of the prison.

Malik cannot forget his participation in a murder, tortures himself, and has frequent nightmares of the incident. He slowly rises to the ranks of power within the prison community becoming involved in dangerous events and pivoting from meek to fear.

Largely avoided are overused prison elements common in many films of similar ilk. In other films, humor or standard dramatic situations occur that make a watered-down experience. A Prophet breathes fresh life into the prison film, albeit grisly and violent life.

The film is not for everyone and is extremely dark, even brutal at times.

During murder scenes, blood and guts are spilled at an alarming rate, and there ceases to exist many characters to sympathize with.

Malik is the main character but is an opportunist, readily doing what he must to gain power and control. Can we blame him? No.

Malik is a complex and nuanced character who is a joy to watch and dissect. He starts his prison tenure as a naive and timid boy, illiterate and easily manipulated. Over time, he grows into a seasoned gangster becoming involved in intricate plots and messy situations.

Actor Tahar Rahim successfully makes the character both likable and detestable, fleshing him out so the audience will love and hate him. This is the mark of a wonderful actor who can give complicated dynamics to the character.

Prison life is portrayed exceptionally well by director Jacques Audiard, who relays an authentic representation. It was good enough to make me never want to be imprisoned anyway. He wisely hired former convicts as both extras and advisors to flesh out the experience.

Life in prison, Audiard style, is not a rosy picture, but one filled with pain, fright, and violence. The Arab population, woefully underrepresented in cinema, is given a voice.

Another subject matter, homosexuality, a popular addition in prison films is not explored. Mostly played either for laughs or providing a conveniently situational plot device, A Prophet does not need the inclusion, too much else is going on.

Although a titillating prospect for many, the subject may have added a sexual or romantic angle taking away from the main point of the film, which is one man’s journey within the prison system.

Told from one man’s viewpoint, A Prophet (2009) is a triumphant French film that deservedly received accolades for its courage and realistic feel.

Starring a young actor with great potential and a brave director unafraid to develop logical storytelling and avoid typical traits, one wonders what their next project will be.

Violent gangs, corrupt guards, and impressionable prisoners would be a good way to continue.

Oscar Nominations: Best Foreign Language Film

Independent Spirit Award Nominations: Best Foreign Film

Parasite-2019

Parasite-2019

Director-Joon-ho Bong

Starring-Song Kang-ho, Jang Hye-jin

Scott’s Review #963

Reviewed November 28, 2019

Grade: A

Parasite (2019) is a South Korean language film that has it all. The writing is powerful and thought-provoking, the direction is unique and intriguing, the acting stellar, and the story perfectly paced with dizzying twists and turns.

The film is uncomfortable and unsettling (in a good way), catapulting from dark humor to horror by the time the shocking finale plays. An experience to be dazzled by and ravaged at the emotions it will instill in the viewer.

The story centers on two families. The affluent Park live in the lap of luxury, enjoying the finer things in life like a lavish residence, a personal driver, and a live-in housekeeper.

Park Dong-ik is the CEO of an IT company, his beautiful wife, Park Yeong-gyo, stays at home with their two children, Park Da-hye and Park Da-Song. They are rich and, on the surface, rather spoiled and superficial.

The struggling Kims reside in a semi-basement that constantly floods, accept menial jobs to pay the bills, and are grifters.

Patriarch Kim Ki-taek and his wife Kim Chung-sook have two teenage children, Kim Ki-woo and Kim Ki-Jeong. They are cagey and resourceful and think up schemes to garner money. Each is good-looking but struggles to find much success in life.

Kim Ki-woo’s friend tutors for the Park daughter and will soon travel abroad for studies. He convinces Kim Ki-woo to interview for the position, who easily gets the job by charming the gullible Park Yeong-gyo.

He and the rest of the Kims create an elaborate ruse to insinuate themselves into the Park family by tricking Mr. and Mrs. Park into dismissing their driver and housekeeper. The Park’s are unaware that their new staff is related!

The underlying theme of Parasite is one of class distinction and social inequality. The tension builds more and more with each scene and the monetary differences between the haves and has not is always on the surface. Once the Kims get a taste of the good life they have no intention of being satisfied merely as hired help- they want it all for themselves.

The fact that the Kims are clever and manipulative is no accident on the part of the director, Joon-ho Bong.

Conversely, the Park’s are gullible and easily outsmarted by the Kims. Why are they rich and the Kims poor, the audience wonder? Are we to root for the Kim’s to overtake the Park’s? The Kims are no saints as they resort to the firings of other people to get what they want.

Allegiances to characters will shift along the way.

As the Kims get comfy one night in the Park house when the family goes on a weekend camping trip, the film takes off. Drunk and sparring with each other, the doorbell rings, and the haggard former housekeeper begs to be let in.

When she claims to have left something behind in the basement, this leads to a shocking secret and dramatic turn of events. I did not see the revelation coming and events only catapult the film into something else. The pacing and tension during this scene are outstanding.

Tough to rival this scene, the film does just that with the gruesome and bloody birthday party scene. The proverbial “sh## hits the fan” as the tensions among the characters come to life. The scene results in several deaths and the rage of a prominent character reach a crescendo.

The scene is set on a gorgeous sunny day, perfect for birthday cake, balloons, and shiny wrapped presents. After a lovely start, the party becomes laden with blood, screams, and intensity.

Bong writes the Kim patriarch as the most sympathetic character, and a montage at the end of the film makes this clear. The other characters are less benevolent and more complicated. When Mrs. Kim shoves the family dog she is unlikeable, but then she is kind to the former housekeeper.

Mrs. Park appears innocent at first but then is a shrew when she plans her son’s birthday party, expecting all to cater to her every whim. Finally, Mr. and Mrs. Park mock Mr. Kim behind his back and insinuate that poor people “smell funny”.

Do the Park’s deserve their fates?

Parasite (2019) is a dark film filled with clever writing, good character development, that takes audiences on a roller coaster ride.

The sub-titles do little to detract from the fantastic experience this film offers as Bong spins a spider web of deceit, desperation, and tragedy. Viewers will certainly be thinking and talking about this one for days.

Oscar Nominations: Best Picture (won), Best Director-Bong Joon-ho (won), Best Original Screenplay (won), Best International Feature Film (won), Best Production Design, Best Film Editing

Independent Spirit Award Nominations: Best International Film (won)

Diabolique-1955

Diabolique-1955

Director Henri-Georges Clouzot

Starring Simone Signoret, Vera Clouzot, Paul Meuisse

Scott’s Review #878

Reviewed March 16, 2019

Grade: A

Diabolique (1955) is a masterful French thriller that is as compelling as frightening and offers insurmountable influence in years to come.

Shamefully remade and Americanized in 1996 starring Sharon Stone, a waste of time if you ask me, the original is the one to discover.

With a perfect blend of psychological intrigue, never-ending suspense, and even a good mix of horror that Hitchcock would find impressive (more about him later), the film is brilliant in its pacing and frequent twists and turns.

Directed by Henri-Georges Clouzot, Les Diaboliques is set in a crumbling boarding school in the metropolis of Paris. Sadistic headmaster Michel Delassalle (Paul Meuisse) runs a tight ship but works for his Venezuelan wife, Christina (Vera Clouzot), who owns the school.

Michel is immersed in a torrid affair with schoolteacher, Nicole Horner (Simone Signoret) and regularly abuses both women as well as his students. The two women embark on a plot to kill Michel, but when they succeed in their plan, Michel’s body goes missing.

The women panic.

In a few fun trivia tidbits, director Clouzot, right after finishing Wages of Fear (1953), optioned the screenplay rights, preventing Hitchcock from making the film. This movie helped inspire Hitchcock’s Psycho (1960).

Robert Bloch himself, the author of the novel version of Psycho, has stated in an interview that his all-time favorite horror film is Diabolique. If the film displays nuances incorporated in Psycho, this is undoubtedly the reason.

Clouzot also directs his wife Vera in the prominent role of Christina.

The brilliance is it could have been made by Hitchcock since the entire experience has his stamp and influence even though his best works lay ahead of him in 1955.

Still, from the Gothic mood to the “can’t believe your eyes” twisted, blood-curdling ending, the director immediately comes to mind every time I watch the film. The “shock” ending only exceeds expectations with a fantastic delivery.

The film takes an unusual stance on the dynamic between the two women, Christina and Nicole. Rather than take a traditional route and make the women rivals for the man’s affections, Clouzot makes the pair co-conspirators.

This only deepens their relationship as events unfold and take a darker and more dire turn.

They rely on each other as teammates rather than despise each other over their love for another man. Intelligently, they spend their energy on making sure the insipid man gets his just comeuppance for his dirty deeds.

Nicole leads Christina in the direction she needs to go.

The black and white cinematography is highly influential to the mood. With each unexpected twist or scene of peril, the lighting is perfect in radiating the suspense. The camera juxtaposes the frequent glowing of the white against the dark black exuding a frightening, ghost-like presentation.

The entire setting of the school is laden with dark corners that provide good elements of foreboding and sinister moments to come.

As the women become more and more unnerved by the limitless possibilities that the missing body presents, many questions are asked but are impossible to answer. “Where is the body?”, “Could Michel be alive?”, “If he is alive is he hell-bent on revenge?” The viewer will also ask these questions throughout most of the final half.

When an unknown person begins to call the women the questions multiply.

Clouzet uses frequent shots of objects to enhance the tension even further. Closeups of a dripping bathtub, a typewriter with a man’s hat and gloves, a woman’s feet as she removes her shoes, and a woman running in terror through the school.

These facets only enhance the overall experience as the suspense and the terror begin to mount.

Diabolique (1955) is considered one of the greatest thrillers of all time and I concur mightily with this assessment. A French version of Psycho (1960), that combines an acclaimed director’s ingenious subtle ideas into a giant web of delicious filmmaking.

The viewer will never see the surprise ending coming even if they think they have the plot figured out. This point alone is reason enough to see the film realize its greatness.

The Secret in Their Eyes-2009

The Secret in Their Eyes-2009

Director Juan Jose Campanella

Starring Soledad Villamil, Ricardo Darin

Scott’s Review #565

Reviewed December 26, 2016

Grade: A

The Secret in Their Eyes is a wonderful film and one of the best of the year 2009- deservedly it won the Best Foreign Language Film of that year.

Argentinian-spoken, the film is a multi-faceted story with twists and turns, leaving the audience guessing.

The remarkable characteristic of the film is that it crosses genres. It lies somewhere between a thriller and a romantic film, with much depth.

The story concerns a criminal investigator who decides to write a memoir of a case that happened twenty-five years ago as he reflects on the present as well as the past. This story angle in itself is highly appealing.

The film contains many flashbacks- a young newlywed was raped and murdered years ago in an unsolved case, and the film is influenced heavily by both Alfred Hitchcock and Dirty Harry.

The tale has a few surprises and twists, especially as the plot moves along. I adored the use of mirrors, reflections, shadows, and eyeglasses. Hitchcock lovers will know all about that.

I was fortunate to see this film at my local art theater and close to three hours, it can be slow-moving at times, but well worth the payoff.

The Secret in Their Eyes (2009) is a very, very well-made film.

Oscar Nominations: 1 win-Best Foreign Language Film (won)

The Bridesmaid-2004

The Bridesmaid-2004

Director Claude Chabrol

Starring Benoit Magimel, Laura Smet

Scott’s Review #548

Reviewed December 14, 2016

Grade: B+

A more modern offering by Claude Chabrol, (many of his films were made in the 1960s and 1970s), his 2004 film entitled, The Bridesmaid, continues the tradition of compelling, macabre, story-telling immersing the viewer in strange behavior by the central characters, as they obsess over each other in one way or another.

The film is in the French language.

The Bridesmaid contains two plots- one explored fully, the other not explored as much as might have been hoped- the latter being the more interesting of the two.

Philippe is the only son of his mother, Christine, and the only male in the household- his two other sisters live there as well. Christine is divorced and works as a hairdresser.

The family is a rather typical one save for a creepy incestuous bond between Philippe and Christine-very romantic in their conversations with each other, and Philippe’s penchant for carrying around a head statue carved to resemble his mother.

He regularly sleeps with the statue and kisses it on the lips.

As the youngest daughter is to be married, Philippe meets and bonds with one of the bridesmaids- Senta. The two embark on a torrid love affair and become inseparable. As their love flourishes, Senta becomes obsessive in her undying love for Philippe and asks him to kill a stranger as a way of proving his love for her.

This leads to confusion as Senta kills another character, thinking this is what Philippe wants. Philippe becomes both afraid and titillated by the young girl.

The main plot is very reminiscent of the Hitchcock classic, Strangers on a Train, as one party is bloodthirsty and the other a more innocent victim of the plot, yet in Chabrol’s film, the other party suffers from issues of their own in the emotional sense.

Senta is unbalanced, and a mysterious figure from her past- Rita- described as her stepmother, appears a few times, as she dances with her much younger partner.

A local girl mysteriously disappears early on in the film, which may be a red herring to the stories, or perhaps related to all the events of the film.

I was more intrigued by the mommy/son angle, but perhaps that is Chabrol’s way of confusing the audience. Oddly, the duo has simmering chemistry, yet each character never fesses up to being obsessed with the other- it is merely implied.

Philippe dislikes Christine’s beau, who figures prominently in the main story of Senta’s machinations, but I wanted more of Christine and Philippe.

Stylistically, The Bridesmaid is dreamy and builds at a slow momentum, similar to Chabrol’s earlier films- we are aware that the story will play out in a strange, interesting fashion, but we do not always know just what road Chabrol might take, nor what plot points may or may not be revealed.

Perhaps less developed than some of his fantastic earlier efforts, but a recommended watch for someone in the mood for a morbid, left of center, story to sink one’s teeth into.

Claude Chabrol is a director I admire greatly for his use of fascinating elements that keep the audience guessing as to what is coming next, and this is a joy in itself.

Mother-2009

Mother-2009

Director Bong Joon-ho

Starring Hye-Ja Kim

Scott’s Review #480

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Reviewed September 11, 2016

Grade: A

Mother (2009) is brilliant! I loved it and implored people to give the film a chance.

Years later, just desserts would be served. Director, Bong Joon-ho would win the Oscar for Parasite (2019).

It is a South Korean film- made in 2009 that almost nobody has heard of-let alone seen, but it is fantastic. It’s a shame that it did not get more notice, but sadly, some of the best films do not.

The plot revolves around a mysterious murder that occurs in a small South Korean village and a poor village woman’s mission to exonerate her mentally challenged son, who is convicted of the crime in a botched case.

The plot twists and turns and is compelling beyond belief. The real crux of the film is what lengths a mother will take to protect her son, a question many viewers can ask themselves.

Why Hye-Ja Kim, who plays the title character was not nominated for an Oscar for this role is beyond me and quite a shame. She is a goldmine and gives a terrific, memorable performance.

The movie is stylistic and has moments that resemble Hitchcock and David Lynch combined. One does not know what will transpire from scene to scene and that is the beauty of the film- besides the wonderful acting.

Once the film ends viewers will feel compelled to discuss, which is an accomplished feat.

I highly recommend it.

Independent Spirit Award Nominations: Best Foreign Film

Theeb-2015

Theeb-2015

Director Naji Abu Nowar

Starring Jacir Eid

Scott’s Review #459

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Reviewed August 4, 2016

Grade: B+

An Arabic-spoken foreign language film that received a 2015 nomination for Best Foreign Language Film, Theeb is an old-world film set in 1916 during the Ottoman Empire.

The event is  World War I as an Englishman battles Arabs and nobody can be trusted.

The film is largely shot in the smoldering Arabian desert (in Jordan) and told from the perspective of a child named Theeb.

Despite the slow pace, the moments of action are even more important. It has a grainy quality to it that makes it somewhat of a bizarre Arabian western.

Theeb lives in a small village run by his father and older brother, Hussein. One night a mysterious Arab man and an Englishman arrive seeking a guide to take them to a Roman well, close to the Ottoman railway.

The mission is feared a dangerous one, as the trail they must take is riddled with bandits, not to mention, the Englishman owns a box containing gold, making him a vulnerable target.

Theeb, left behind because he is so young, follows and joins them, much to the group’s chagrin. Predictably, trouble ensues and Theeb must fend for himself.

What I enjoyed about this film is its unpredictability in what happens after the group faces danger. Sure, when the foursome sets out on a trail led by camels, we know bad stuff will happen.

But, finally left to his own devices, I was intrigued as to how Theeb would face his new challenges, having up until now been protected by his family.

In ways, Theeb reminded me of another adventure film, Life Of Pi (2012), though Theeb is much darker. Both feature a young, non-American male of Indian or Middle Eastern background, forced to survive largely alone.

The John Boorman classic, Deliverance (1972), also came to mind during one dark scene, as Theeb and Hussein cower amongst rocky caves while their devilish pursuers taunt and whistle at them mockingly from below.

The hunter vs. victim component is front and center and it is killed or be killed.

Later, an interesting bond develops between Theeb and one of the raiders (Hassan) as both mistrust each other. Will they forge the bond or will one betray the other?

The answer to this question emerges during the final moments and the buildup is compelling. I became aware of the father and son dynamic mixed in with the friend and enemy.

When Theeb treats Hassan’s wounds there is tenderness on the exterior, but is Theeb fully kind to Hassan?

A slight negative for me existed in that I did not buy that the period was the early Twentieth century, but rather, everyone looked and acted so modern as if they were merely dressed up for their parts….as they were. Perhaps it had to do with the hairstyles or mannerisms.

Shot entirely in Wadi Rum, Jordan, a gorgeous part of the world, the desert and big sky lend much to the ambiance this creates. It was almost like being in the old, wild west and an ode to old Western films, only set in the Arabic world.

The entire cast, save for the Englishman, are non-actors, an amazing achievement, and a measure that creates an obvious level of realism that rehearsed actors cannot always bring to the table.

Originally meant to be a short film only, Theeb emerged as a full-length feature and I am glad it did, as it has enough meat to warrant a longer duration.

The film is a cinematic wonder with a psychological edge.

Oscar Nominations: Best Foreign Language Film

La Femme Infidele-1969

La Femme Infidele-1969

Director Claude Chabrol

Starring Stephane Audran, Michel Bouquet

Scott’s Review #397

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Reviewed April 23, 2016

Grade: A-

Another gem by French director Claude Chabrol, La Femme Infidel (The Unfaithful Wife) is a 1969 film later remade in the United States in 2002, directed then by Adrian Lynde.

Having seen the remake a few times before watching the original, I cannot help but compare the two films, which in itself is fun for me since both films are vastly different from one another, especially as I find myself further pondering each.

One is more conventional- the other more psychological.

Successful insurance executive Charles Desvallees lives in the suburbs of Paris with his beautiful wife Helene and their young son.

Life is seemingly idyllic, as they enjoy every luxury imaginable beautiful house with a beautiful landscape and a dutiful maid.

Charles has a sexy secretary, smokes, drinks, and enjoys life at work and Helene frequently goes to Paris for shopping sprees, beauty treatments, and to attend the cinema.

What could be missing from their lives?  Helene is a bored housewife and has embarked on an affair with Victor Pegalla, a writer who lives in Paris.

When Charles grows suspicious of Helene, he hires a private investigator to track her activities and reveal the true story of how she spends her time.

Admittedly, I was highly influenced by Unfaithful, the 2002 remake starring Diane Lane and Richard Gere when I viewed La Femme Infidel.

The remake is set in New York instead of Paris and is more polished and less psychological- a Fatal Attraction-type slick thriller if you will.

The “other man” is much sexier and more passionate, and the connection is more primal than in the original. This changes the tone of the film from a sexual and lustful one to a more complex and psychological dynamic- La Femme Infidel is a more thinking man’s film.

Victor is handsome and well-groomed, but he is rather similar to Helene’s husband, so we wonder what the main appeal is- if she is seeking adventure.

Lane’s 2002 character’s choice is easy- her affair is based on the physical attractiveness of the man. 1969’s Helene is not having her affair for that reason-, the reasons, besides boredom, are unclear, making the film more complex.

When the main action (death) occurs at the midway point, the film goes in a different direction and becomes complicated. No longer is the main plot of Helene’s adultery, but rather what Charles has done and the repercussions bound to follow.

Do we see Charles as the villain and Helene as the victim? Who do we feel sorry for? Do we root for anyone? Certainly, the character of Victor is not explored in much depth. What are his motivations? Is he in love with Helene?

Helene is an interesting character. Is she meant to be sympathetic or hated? Or just complex?  One can interpret her in different ways- the woman has it all beauty, a faithful husband, and a wonderful home life- why does she risk sacrificing it all for a fling?

Does she dare to want more out of her life and have some adulterous fun? It does not seem that Helene is in love with Victor or has any desire to run away with him or leave her husband.

Charles is also a character to be analyzed closely.

Throughout the film’s first portion, he is seen as a victim- his gorgeous wife has mysterious contempt for him and plays him for a fool. She spends his money and cheats on him, while he adores her and resists his young, flirtatious secretary, who has a thing for Charles and wears short skirts seemingly for his benefit.

She is much younger than Helene. Later, his character’s actions and motivations shift from victim to arguably brutish and primal. A momentary outburst changes his motivations and the texture becomes calculating.

In the end, Charles and Helene come together and resume normalcy in their lives, but will things ever be the same? Will the trust ever reappear in their lives? Is Helene now afraid of or intimidated by her husband or rather, does she now have a newfound desire for her alpha, take-charge husband?

The 1969 version of La Femme Infidel is layered, complex, interesting, and left me thinking about the film and that is a very good sign.

The remake, while very good, is more of a blockbuster, produced kind of film, while the original goes more for thought.

The lack of sex appeal in Victor is a negative of the film as are his motivations, but the character-driven nuances of the other characters make this a thought-provoking watch.

Violette Noziere-1978

Violette Noziere-1978

Director Claude Chabrol

Starring Isabelle Huppert

Scott’s Review #378

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Reviewed February 16, 2016

Grade: B+

Another in the legion of thrilling and mysterious films by French director Claude Chabrol, Violette Noziere (1978) tells the true story of an eighteen-year-old Parisian girl, who plots her parent’s murder in 1930’s France.

The fact that the tale is true to life makes it even more horrific and mesmerizing.

It is beautifully shot, though the action largely takes place in interior settings.

This film is a cerebral experience.

The film is classy in every way- like French films typically are, and Isabelle Huppert (Violette) takes center stage. She is gorgeous and interesting-looking (reminiscent of a young Jennifer Jason Leigh) in the lead role.

Violette appears to be a typical French teen but harbors a dark secret and something always appears glum about the character. She works nights as a prostitute accosting wealthy men.

When she meets handsome but spendthrift, Jean Francois, a young man she fancies, she becomes his main source of income and slowly begins to plot the murder of her low-income, yet stable parents, in an attempt to inherit their apparent savings.

The story is somewhat murky as Violette’s version of events (mainly in the past and concerning her father) is accusatory. She insists that her father sexually abused her as a child, but is this in her fantasy world, or did this happen? One never knows.

Making the film compelling is that Violette’s parents are quite likable. Struggling to make ends meet and provide quality life, they prepare home-cooked meals, enjoy life, and appear to be decent people.

What is the reality?

Later, we witness a rivalry between Violette and her mother. In one scene we see Violette’s father bouncing his daughter on his knee while the mother looks on filled with hatred.

When she attempts to seduce her husband, unsuccessfully, Violette looks on amused. Is this solely in Violette’s mind?

Chabrol, an admirer of Alfred Hitchcock, keeps the suspense going throughout the film, but the heart of the film belongs to Huppert.

From the start of the film, amid meaningless banter with her more refined girlfriend, the audience can tell there is something amiss about Violette. She seems lonely, like a lost little girl yearning for some excitement as her eyes stare into the distance.

Her true colors are slowly exposed, yet Chabrol never makes her all-out crazy. Violette always has a cool, calm, demeanor and that is why the film succeeds.

For fans of Chabrol, or film fans eager for a foreign language treat, Violette Noziere is a rare find, a welcome addition to the growing number of his films I have watched with interest, and heartily enjoyed.

The mystique, the beauty of the artistry, and the twists and turns are top-notch.

Irreversible-2002

Irreversible-2002

Director Gaspar Noe

Starring Monica Bellucci, Vincent Cassel

Top 10 Disturbing Films #4

Scott’s Review #375

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Reviewed February 7, 2016

Grade: C+

As I ponder my review of Irreversible,  a 2002 French thriller and “art film”, I am attempting (as I always do) to look at the film critically, from a story and a technical standpoint, as well as a myriad of other aspects that make up a film.

This is admittedly a toughie.

On the surface, I despised the film wholeheartedly (more on that later), but from a critical standpoint, I found characteristics to admire and give credit to. One thing is for certain- I never want to see this film again.

The story is told in a non-linear style, begins after the story, and works backward, which I credit the film for, giving it a unique storytelling experience, cleverly done.

Two Parisian friends, Marcus and Pierre, go on a rampage after Marcus’s girlfriend is brutally raped and beaten. In panic mode, they learn the name of the attacker (Le Tenia) and go to a gay BDSM club aptly named “The Rectum”, a place the attacker requests, where they fervently search for him all the while beating club-goers and cause havoc.

Since the story is told in reverse, the audience is initially in a state of confusion at the events transpiring, and the jagged, shaky camera work, a very creative technique, only adds to the chaos. We only know that two maniacs are running rampant, destroying everything in their path.

Slowly, we realize what their motivation is as we work backward.

We are introduced to Alex, a beautiful young woman- in the early stages of pregnancy, who is Marcus’s steady, but used to date, Pierre. They are all very good friends. We see the romance between Marcus and Alex, and, working even further backward, we see Alex sitting alone in a park, reading a novel, and enjoying a bright, pleasant day in the park.

This peaceful closing scene contrasts drastically with the rest of the dark film. The film then becomes a flashing, frenetic, black-and-white experience, which I do not understand.

The film is quite bizarre and intensely brutal. The rape of Alex in a dark, gloomy underpass is one of the most intense and disturbing scenes I have ever witnessed in the film, and at one point I needed to leave the room briefly.

The scene is ten minutes in length and Alex is anally raped and then beaten into a comatose state. It is a sickening scene and we witness her pain, misery, and humiliation.

When Pierre and Marcus avenge her rape on who they think is Le Tenia, the scene is also extremely brutal. After (supposed) Le Tenia is captured by them, he attempts to rape Marcus, and Pierre grabs a fire extinguisher and bashes the victim to death as the face is repeatedly destroyed in full detail. It is a tough scene to watch.

I question the motivations of the director wholeheartedly and wonder if he intended to story-tell, or simply make as gruesome and shocking a film as possible.

I have read that when the film was shown at the Cannes Film Festival, many people walked out of the auditorium in disgust- I can see why.

Irreversible is severely homophobic, with repeated gay slurs being used throughout the gay club scenes, and is also anti- Asian as evidenced by Pierre’s and Marcus’s racial slurs directed at a taxi driver.

The motivations of the character of Le Tenia make no sense to me as it is revealed he is a gay man. Why a gay man would brutally rape a female is unclear to me. This, combined with the extreme brutality, anti-gay, anti-minority, and anti-women, renders the film rather pointless from a story perspective.

My assumption after processing the film is that the director wants us to sympathize with nobody in the film, except Alex. Pierre, Marcus, and Le Tenia are all hateful characters.

It is interesting how, at first, since the beginning is the end, the motivations of the characters are unclear and confused.

My admiration of Irreversible (2002) comes solely from the unique camera work, the clever pacing of the film in the form of backward chapters, and the frenetic style of the opening work, however, the homophobia, racism, and brutality left me cold and I could not shake the feeling that this film is shocking for the sake of being shocking, and one that I ultimately cannot applaud.

Les Bonnes Femmes-1960

Les Bonnes Femmes-1960

Director Claude Chabrol

Starring Bernadette Lafont

Scott’s Review #303

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Reviewed December 19, 2015

Grade: A

Les Bonnes Femmes (1960) is a French film by Claude Chabrol, a wonderful director whom I was shamefully unfamiliar with, save for the recently viewed Les Biches, made in 1968.

He has been labeled the French equivalent of Alfred Hitchcock which is an accurate statement.

Les Bonnes Femmes, is a brilliant film that came about during the experimental New Wave films of the 1960s and cannot be forgotten upon viewing it.

It has resonated with me and I cannot stop thinking and analyzing it.

The film centers on four shopgirls, living in Paris, all of whom happen to be young and beautiful and mysteriously look similar to one other.  Their names are Jane, Jacqueline, Ginette, and Rita.

They are rather bored with their lives and meander aimlessly through life and the doldrums of their job by looking forward to social occasions, which mainly include men.

The girls party (some more than others), date, go to the zoo, swim, and enjoy typical young lady festivities.

So far the film might sound like a typical, lighthearted, nice story- think a French Sex and the City. It is, by and large, this way on the surface, but throughout the film, there is a calm sense of dread- like something bad might be lurking in the shadows of coming around the bend.

As the girls are at the zoo one day, a mysterious individual begins following them, though the viewer has no idea why or who it is.

The film contains more than a sense of dread. Rather, a sense of chilling violence is in the air. A brooding, cold, ugly feeling transpires, due to superior direction and overall mood.

Paris, one of the world’s most gorgeous cities, looks bleak, dark, and gloomy throughout the film. The black and white cinematography undoubtedly adds to this as greyness envelopes every shot.

Throughout  Les Bonnes Femmes there is plenty of foreshadowing as situations arise that give a sense of danger or something bad is imminent.

Early in the film, two girls are walking along the street when they are approached by two men in a car wanting to party with them. They accept and the viewer wonders what a bad decision they may have made. The men wine and dine the women, who are looking for love.

One of the girls is quite a bit more reserved than the other and ends up spending the night with the men. Later, the owner of the shop tells a story of how she once acquired a serial killer’s bloody handkerchief after he was guillotined and has kept it for years.

Creepy? Yes.

The tigers snarling at the girls when they visit the zoo is laced with symbolism as is a, at first, fun game at the pool, as the men dunk the girl’s heads underwater until things escalate towards danger.

Jacqueline, the sweetest of the girls, meets a motorcycle man and spends time together. They are happy. The irony is that during these later scenes, in which an act of brutality occurs (one character is murdered), the tone is suddenly sunny, warm, and bright. A lovely afternoon in the woods turns evil, and quickly.

This was a shocking scene for me to experience as I was caught off guard. The ending of the film can be discussed in vast detail.

During the murder, it almost seems like the victim is welcoming death. Could this be? Additionally, is one of the shop girls his next intended victim, or is a new girl the killer’s next target?

In the final shot, we see him dancing with a girl, but it is unclear (at least to me) if it is one of the shopgirls.

Chabrol is not a happily-ever-after kind of director. His films are known to be stormy with dread looming. But they are also laced with style, sophistication, and a dark appeal.

I cannot wait to sink my teeth into more of his works.

(Le Boucher) The Butcher-1970

(Le Boucher) The Butcher-1970

Director Claude Chabrol

Starring Stephane Audran, Jean Yanne

Scott’s Review #273

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Reviewed September 14, 2015

Grade: A-

(Le Boucher) The Butcher is a French thriller made in 1970 that is slow-moving at first but progresses to a dramatic crescendo as the latter part of the film escalates, and turns from plodding to cerebral mind-blower.

Mirrored after and inspired by director Alfred Hitchcock, The Butcher is surprisingly not quite horror (based on the title one might assume it is), but rather, an intelligent dreamy thriller.

Gorgeous schoolteacher Helene Daville is smart, confident, and filled with a zest for life. She tutors children needing extra help laughs with them and even lets one sip champagne during a wedding to try the taste of it. She enjoys living and the occasional adventure.

One day, at a wedding, she meets the local butcher, Paul Thomas, and they immediately hit it off as they tenderly walk home together. Cordial and kind, they develop a friendship and laugh together.

As time goes on, a series of killings begin to occur in the town.

Helene begins to suspect Paul of the murders and wrestles with her conflict between her budding love for him and her revulsion at the thought of being in love with a vicious murderer. Her conflict is the point of the film.

The relationship between Helene and Paul is an interesting dynamic and, I now realize, the reason for the slow pace of the picture. Helene and Paul enjoy a nurturing, caring courtship and the film successfully achieves the intended slow build.

The murder mystery is rather secondary and helps support the main plot. We know little- almost nothing- about the female victims. They are strangers to the audience and the reason for their deaths is unknown.

The killer simply kills- no motivation is revealed. This is what makes the film so cerebral and mysterious.

The Butcher is a love story intertwined with a thriller. It is not a mainstream thriller in the conventional sense and the final twenty or thirty minutes reeled me in completely and gave me great admiration for the film, which I had been hedging about throughout.

The meat of the film might have started an additional thirty minutes before it did in my opinion, but then again the slow build may have been intended to make the result more powerful. The moral conflict, love versus hate, tenderness, affection, caring, devastation, and betrayal are all explored during this relatively brief finale.

Besides, the blurry camera shots and angles from the vantage point of an automobile driver traveling down a dark, tree-lined street are highly creative and unique.

The comparisons to Hitchcock are evident.

Helene is similar to Tippi Hedren’s “Melanie Daniels” from The Birds. She is glamorous, alluring, blonde, tall, well-dressed, and the heroine of the film. Attractive and blonde are traits featured in many Hitchcock films.

Paul, on the other hand, reminds me of Rod Taylor’s Mitch, also from The Birds, though not as handsome or charismatic. Still, their relationship reminds me of the two of them as the chemistry oozes from the screen and a romance and thriller are combined.

Helene is perceived as a wholesome wonderful person by the audience, but is she truly?

In the end, we are left questioning her true feelings and are left with a distaste in our mouths. Her choices confuse us or is she simply a complex human being like each of us is?

The interesting aspect of The Butcher (1970) is it leaves one questioning how we would handle Helene’s dilemma, and more importantly, how we would channel our feelings if faced with a similar predicament.