Tag Archives for " New French Extreme "
“Switchblade Romance” is neither the debut feature by Alexandre Aja nor is it the first film to be labelled under the New French Extreme label (a term first derogatorily coined by Artforum critic Jonathan Quandt). However, it was key to the development of both Aja’s career and the New French Extreme. For Aja, it brought him to the attention of an international audience. Regarding the New French Extreme, the movie was one of the first (the first was Claire Denis’s “Trouble Every Day”) purely horror features in this body of films that was at this more associated with the art-house and spearheaded a revival of French horror which would go on to include the likes of “Sheitan”, “Ils”, “Frontier(s)”, “À l'interieur”, “Martyrs” and “Calvaire” (which is generally put under the same banner despite being Belgian).
The film was not only influential in terms of its impact on French horror, but it also seemed to predict the direction horror was about to take. With audiences both tiring of self-referential slashers and the Asian ghost story market reaching saturation point many horror filmmakers started to look back at the grindhouse era for inspiration. Leading to the “torture porn” craze that would come to dominate horror cinema in the mid-late 2000s for better or worse depending on your perspective and, of which, there will be plenty more discussion of as we go on.
For all the movies significance in the 21st Century horror canon, it is not without its flaws. Chief amongst them is it has one of the silliest twist endings in horror. Now if you have not seen the film and don’t want the twist spoilt for you then stop reading now. So, now that is out the way here it is basically Marie (Cecille de France), whom we assume as viewers, has been hiding from and tracking the nameless serial killer (Phillipe Nahon) who kidnaps her best friend Alex (Maiwenn) as well as brutally butchering Alex’s family is actually the killer herself and the male figure we think to be the killer is merely her mental projection.
Now as previously stated this is a ridiculous twist, but crucially it does not, for this writer at least, completely capsize the movie nor does it completely it rob the work of re-watch value (I shall concede it does make it slightly less interesting though). Also, the twist does not open as many plot holes as you might first imagine when you consider that we the audience have been viewing the events through the deluded memories of Marie. Even with that though certain scenes and events do not make an iota of sense when the twist is revealed as their times where Marie would have had to be in two places at once and others she would not have been there to witness. For example; an early scene where the “killer” is seen in his van next to Alexia’s families’ farmhouse fellating himself with a severed head before Marie and Alexia reach the farmhouse. Plus there is some interactions that make no sense such as when Marie rushes into a gas station to hide from the “killer,” and then the “killer” comes in, and the gas station attendant reacts as if its two separate people.
There are plenty of other head-scratchers you will be sure to be mulling over long after you see the film but if you are a fan of grindhouse your still likely to be a fan as there is an evident affection for those films throughout as the feature wears its influences on its sleeve. Most strongly the influence of “Texas Chainsaw Massacre” which is paid homage to both in the opening dream sequence and the chainsaw-wielding finale. Also for all the flaws, a lot of which stem from that ending, there is a lot of good here too as, much like the original title suggests, Aja certainly knows how to crank up the tension in a scene. There is also plenty to enjoy for splatter fans as there are several well-staged gory set-pieces. Again these show Aja’s horror fandom as the gory effects were provided by Giannetto De Rossi who also provided effects for the likes of “Zombie Flesh Eaters.”
Finally, the other thing that makes this a gripping movie-watching experience is the performance from De France as Marie she makes the character both vulnerable and resilient and is consistently engaging on-screen presence. Even more impressive is that due to the strength of De France’s performance you can still find yourself oddly rooting for Marie on the second or third viewing despite the fact you have the foreknowledge she is hunting down herself.
Of course, all of this is only the opinion of this critic, many critics of the time and since were less than impressed with movie only holding a 40% Rotten Tomato score and the late great Roger Ebert saying: "The philosopher Thomas Hobbes tells us life can be 'poor, nasty, brutish and short.' So is this movie." There were several others such sneering reviews which attacked movie and director for the level of gratuitous violence and the plot logic which we have gone over. Some of them had a point, but still, you feel there is a toying with horror cliché at work here, particularly in relation to the relationship between “final girl” and killer that was overlooked or deliberately dismissed by the most ardent critics of the feature.
None of the criticism or controversy stopped horror nor did it damage the career of Aja who has gone on to direct several Hollywood horrors with mixed results. As while his remake of “The Hills Have Eyes” is one of the few modern remakes worth your time he has also made rubbish like Kiefer Sutherland-starring supernatural thriller “Mirrors,” which is itself a remake of a South Korean feature “Into the Mirror.” Aja certainly remains a fun horror director and his latest "Crawl" was particularly decent. However, “Switchblade Romance” will probably remain his calling card as nothing he has made since has quite matched its sheer visceral power (even if “The Hills Have Eyes” remake runs it close).
NHE host Scott Murphy chats to director Quarxx about his debut feature “All The Gods in the Sky.” Over the course of the interview (interview begins at 3:06), Quarxx tells us about the short film the feature is based on and the curious and somewhat surreal origins of how the initial story for that short came about. Quarxx also recounts the epic year-long search for his lead actress for that original short which led him to all sorts of unexpected places before landing on model turned actress Melanie Gaydos for the part. Due, at first, to her unique look borne of a consequence of a rare genetic disorder (ectodermal dysplasia) which prevents teeth, nails, pores, cartilage, and bones from developing. He also explains how notable Belgian actor Jean-Luc Couchard came to be onboard with the project.
Away from the film, Quarxx tells us about his background in painting and photography, how he got into filmmaking and how his artistic background bleeds into his cinematic work.
Watch “All The Gods in the Sky” trailer here
“All the Gods in the Sky” is currently in theaters in France and is set to be screened at the 19th Edition of NIFFF (Neuchâtel International Fantastique Film Festival) in July.
Directed by: Coralie Fargeat
Starring: Matilda Lutz, Kevin Janssens, Vincent Colombe, Guillaume Bouchède
Run Time: 108mins
Despite only being afforded a very limited release at the cinema Revenge is already one of the most talked about horror movies of 2018. This is not only because it is a rape-revenge movie, that most sordid and exploitative of all horror sub-genre, directed by a woman but also because it takes a more feminist twist on the sub-genre. This is a fact that is being celebrated, at least in some quarters, as quite ground-breaking indeed, although whether this is so is up for debate as there is certainly a bunch of stuff here borrowed from other movies with the director herself citing “Mad Max”, “Rambo” and “Kill Bill” as key influences. This may seem as surprising for a horror movie but it make sense once you have seen the film. In terms of other films that cover similar terrain you can see some influence from the likes of “Irreversible” and “Baise Moi”, however this movie is nowhere near as grim as either of those works. That being said, just because a film generously lifts from others does not mean it is of poor quality or that is does not have its own identity and this one more than proves it as it is excellent and stands on its own two feet.
The movie tells the story of Jen (Matilda Lutz), a young American girl who has been whisked away for a dirty weekend in the desert by her wealthy married lover Richard (Kevin Janssens). Their party is unceremoniously crashed when Richard’s two friends and business associates Stanley (Vincent Colombe) and Dmitiri (Guillaume Bouchède) arrive early for the group’s annual hunting trip. From the very moment Stanley and Dmitiri arrive there is a gut-wrenching tension as the viewer is immediately aware that only bad things await our heroine and director Fargeat wrings this tension for everything it is worth. Fargeat also makes the interesting decision to not make Jen a wallflower but a young girl who is playing with and flaunting her sexuality. This element is well employed when the rape does come, as the director uses it to make a (not subtle but entirely worthwhile) point about victim blaming culture. This is further illustrated when Jen’s rapist tries to sickeningly self-justify how she “wants it”.
This is only the start of Jen’s nightmare though as Richard shows his true colours when he tries to buy her silence. She then appears to be killed when trying to escape from the three men. I say appears as, of course, this is a rape-revenge movie and Jen must come back for her revenge. This is where the movie changes gears a little and it becomes more of an action-horror as our heroine tools up to hunt down her attackers while riding a motorbike through the vast desert landscape looking pretty cool indeed. It is at this point where the aforementioned influences of the likes of “Mad Max” and “Kill Bill” start to shine through. Also in the way Jen is miraculously reborn it seems somewhat akin to a superhero origin tale. This is not quite accurate though as even while she is taking her revenge she never feels like an invincible heroine scything through her foes, there is always a vulnerability and girlishness to the character. While she has few lines, Lutz, manages to convincingly convey both the gritty survivor and the vulnerable girl. The other actors generally play their part well too, particularly Colombe who convinces a slimy cowardly creep Stanley who is also probably the best written and most convincing of the three attackers.
Away from the central plot it must be mentioned that this film is exceptional on a technical level. It has been shot with a ton of visual flair and the editing is super-slick. There is bunch of scenes that are excellent in these terms but it is a hallucination sequence in the middle of the film that particularly stands out. Another thing the film has going for it is all the carnage in the film is played out to a pulsating Carpenter-esque soundtrack.
Overall: In an outstanding feature debut Coralie Fargeat has delivered probably the most fun rape-revenge movie you will ever see while subverting genre tropes along the way.