Posts Tagged ‘raw’

Here’s my top ten as of 30th June 2017 (so, before I saw It Comes At Night, which would definitely have slipped in there, to the detriment of Ghost In The Shell). Enjoy! Your comments more than welcome.

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**** (out of five)

IMG_0450Trey Edward Shults made the best feature film of 2016, Krisha. His follow-up is an intensely personal, extremely precise meditation on fear, grief, family and community. It creates, along with Get Out, Raw, Hounds of Love and Personal Shopper, a quintet of horror-adjacent films this year that have far more to say, and say it far better, than any “non-genre” releases. These auteur thrillers are, thus far, the films of 2017.

Shults is an auteur indeed. Krisha was made in his parents’ house using family members for around thirty thousand bucks. A24, the best distribution company working today (Moonlight, 20th Century Women, American Honey, The Lobster, Green Room, The Witch, Room, Amy, Ex Machina, A Most Violent Year, Locke, Under The Skin, The Spectacular Now… to name a few!) saw the film, recognised prodigiousness (Schults is only 28) and gave him five million bucks, with, it seems, total creative control. May they keep on doing so; may he be to them as Tarantino is to Miramax. Shults is uncompromising, delivering his film; it may not appeal to a mainstream genre audience, but for cinephiles, it is sublime. Every moment of the film is determined and exact, including its ambiguity. It is a distinguished work of cinema from a serious artist.

Joel Edgerton gives his finest performance to date as Paul, a man trying to keep his wife, son and dog safe in the shadow of a plague. They live in a boarded-up house in the middle of some woods, somewhere in the United States, under strict isolationist protocols; when circumstances determine those protocols to be ever-so-slightly altered – when things change – they change for the worse.

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The overriding tone here is dread. The film is relentlessly bleak, often sad, and frequently creepy, but more than anything, it’s anxious. Paranoia reigns. Paul’s determination to protect his small family has caused him to be jumpy, edgy and hard. He was a history teacher before the plague; now he’s an armed sentinel. His choices in this desperate situation are completely relatable, and the film achieves enormous power putting us in his shoes: “What the hell would I do?”

This is a lean film in every aspect, including its running time of 97 minutes (which may be all you can take). The craft across all departments is impeccable; Shults knows how to marry vision and sound. The script has many surprises and, as mentioned, some deliberate ambiguities. I gather some audiences have not exactly embraced the latter; I found them wholly satisfying (as I did the ending, which I think is brilliant). Your takeaway from It Comes At Night may really depend on what you want out of cinema. This is challenging stuff that bears intellectual rigour, or, to put it another way: if you’re not willing to think about it, you probably won’t like it.

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raw-2016-grave-julia-ducournau-cannibal-film**** (out of five)

Opens Friday US, April 20 Australia

Pound for pound, minute for minute, per capita or however you want to say it, I’d suggest the French are making the best horror films in the world at the moment and have been (on and off) for at least a decade. The US and Australian output, while sometimes great, is marred by an enormous amount of derivative drivel. The UK has some excellent years, and with Under The Shadow, Iran is in the game. But the French slate has consistently better production values, acting, and thematic depth. Even at its grisliest (and it can be brutally grisly), French horror often has something to say.

Grave (“Raw”), the debut feature from Julia Ducournau, certainly does. Within its perverse take on coming-of-age, it examines peer pressure, burgeoning sexuality, academic tradition, accepted modes of living and social acceptance, while also being a mesmerising, totally compelling – and, yes, grisley – thrill ride. It’s high-octane, thrilling, compelling stuff that had me transfixed and excited.

Justine (Garance Marillier) comes from a family of vegetarians who enrols in veterinary college and must endure, along with her fellow intake of students, a week of hazing. Her older sister Alexia (Ella Rumpf) is already at the college, and the difficult dynamic between them during this intense and nerve-wracking time forms the spine of the film. Alexia’s split allegiances – to her sister and to her status as a higher-classman – are difficult enough, but there are deeper and vastly more troubling secrets she is wary of sharing.

raw-movie-posterMarillier’s performance is totally enthralling; she’s in every scene and navigates Garance’s jagged carnal awakening with both nuance and a sense of heightened, grand guignol performance when called on by the script, which is not afraid of lurid grotesquery. Rumpf is no less committed and compelling, and there’s also an excellent performance from Rabah Nait Oufella as Justine’s dorm-mate.

Ducournau goes all-out with her imagery and use of a fantastically creepy score by Jim Williams, who scored Ben Wheatley’s Kill List, Sightseers and A Field in England. She creates visual moments that immediately brand themselves onto your psyche and sequences that are simply unforgettable. The story, as it unfurls, simultaneously bears a sense of inevitability but is also constantly surprising, and packs a supremely satisfying climax.

I am thrilled beyond measure to be witness to the cinematic birth of a new, young voice in articulate, emotionally rich, cinematically rigorous horror cinema. I am ravenous for whatever Ducournau does next – and to feast on Raw again.

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