Tag Archives for " 70’s "
Director: Nicolas Pesce
Starring: Christopher Abbott, Mia Wasikowska, Laia Costa
Run Time: 81min
“Piercing” is director Nicolas Pesce’s follow up to his 2016 art-house horror “The Eyes of My Mother.” A film that while not a massive hit was enough of critical and cult success to get Pesce marked out as one of the bright young voices of horror (he is only 29). Not only that, but it also brought him to major studio attention as he currently post-production on the latest reboot of “The Grudge.”
Given the impression he made with his debut, it must have been tempting to do something similar. However, Pesce has gone for something slightly less arty and a little more pulpy in this adaptation of Ryu Murakami’s novel. That said, it is similarly stylized like his first film, and it is just as weird albeit in a different way. There is, for instance, a curious mix of genres with black comedy, erotic thriller, and horror all mingling together. How much of the odd tonal shifts are ripped directly from pages of the book and how much is pure Pesce is difficult to know having not read the novel.
The story set-up itself is straightforward enough. We have Reed (Abbott) who is a businessman with a young family who tells his wife he is going away on business, but he actually plans to go to a hotel to kill a prostitute to quell his murderous fantasies. The prostitute in question is Jackie (Wasikowska) who turns out not to be what she first appears. To say much more of the plot would spoil the curious twists and turns. Also, much like the many of the giallo’s the movie is paying tribute the plot is beside the point and it’s easy to see why some will write this off as an indulgent exercise in style over substance.
An assessment which is not far off the mark but the movie is raised by the performances of both Abbott and Wasikowska. Their characters are thinly written, but both give committedly bizarre performances that bring Reed and Jackie to life. They also have excellent on-screen chemistry which helps a lot. Also, while the self-conscious cool maybe off-putting for some there is something delightful about the dedicated retro-style. From the use of miniatures for the buildings to the deployment of back-projection as well as the use of music from the likes of “Deep Red,” “The Red Queen Kills Seven Times.” and more. It is clear from the off we are not in the real world but a purely cinematic one.
Aside from the production design and the lead performances, there are some great individual scenes; such as the darkly humorous sequence where Reed practices his murder method before Jackie arrives in his hotel room. There are several other surreally blackly comical moments like this. The film really flies into gear in its final act too, but unfortunately, this good work is slightly undone by its abrupt and unsatisfying ending.
Overall: A weird, albeit stylishly made, curio which is an eminently watchable but somewhat slight sophomore effort from director Pesce.
Remakes are always tricky propositions especially within the horror genre where films have such dedicated fanbases. This trickiness counts for double when you are remaking a movie like Suspiria which is considered an all-time horror classic. Also given the critical snobbery often surrounding horror it seems especially risky for Oscar-nominated arthouse darling Luca Guadagnino to take on this project. So was it worth the risk? Mostly but not entirely is the answer to that.
It was entirely apparent from the trailers that this Suspiria was going to be different. The most immediately noticeable difference is the visual palette. This Suspiria looks very grey, sombre and more not unlike say, a Michal Haneke film, which is a considerable distance from the colour drenched original. Also, this movie has moved the action from Freiburg to Berlin. With Guadagnino stating in interviews, he wanted to make a film which also looked into the socio-political climate of late 70’s Berlin. A noble purpose but this is one of the elements that does not work. All the references to the Baader-Meinhoff complex and the politics of the time feel shoe-horned in and superfluous to the central plot.
The central plot, or certainly it’s beginning, is one of the things that has not changed. As just like the original we have a newcomer American dancer Suzie Bannion (Dakota Johnson) arriving at a prestigious German dance academy supervised by Madam Blanc (Tilda Swinton). An Academy that just so happens to be run by a coven of witches. Many of the plot beats of the original remain here but with slightly different twists. Such as one of the students, Patricia (Chloe Grace Moretz), disappearing at the start and Suzie’s best friend Sara (Mia Goth) finding the coven’s secret lair.
In terms of the horror on display here, there is undoubtedly some compelling moments, the death of one of the dancers being a genuinely wince-inducing moment. There is also a couple of dream sequence which are unsettling. However, there is a curious lack of tension or suspense to proceedings. Something horrible happens then the film meanders on then another horrible thing happens etc. This lack of momentum can be frustrating, and there are times the movie does not seem to be going anywhere. The film particularly stalls when following Dr. Josef Klemperer (Swinton) whose sub-plot while necessary to an extent could have been cut down. The same criticism could also extend to the film’s epic 2 ½ hour running time.
There is also plenty to admire here though as the performances across the board are strong particularly Swinton’s multi-faceted performance as Madame Blanc. The dance sequences are also intense and exhilarating spectacles imbued with a brooding horror. Getting under your skin in a way you wish more of the film did.