Directed by Coralie Fargeat
Starring – Matilda Lutz, Kevin Janssens, Vincent Colombe
The Plot – Jen (Lutz) is enjoying a romantic getaway with her wealthy boyfriend, Richard (Janssens) which is suddenly disrupted when his sleazy friends arrive for an unannounced hunting trip. Tension mounts in the house until the situation abruptly, and viciously, intensifies, culminating in a shocking act that leaves Jen left for dead. Unfortunately for her assailants, Jen survives and reemerges with a relentless, wrathful intent: revenge on those who left her for dead.
Rated R for strong bloody gruesome violence, a rape, sexuality, graphic nudity, drug use and adult language
– From a presentational standpoint, ‘Revenge’ is the single best film of 2018. Sleek, transfixing sexy style in camera and color coordination that speaks vibes to 70’s exploitation horror with a French style of cinematography. Great close-ups on the Lutz’s body for how males in the film see her, and great close-ups on the males for how disgusting and predatory their long stares equate
– Measured, meticulous performance by the talented Lutz. Her transformation is one that is slowly calculated, and never feels superhuman once the turning point happens. She still very much feels pain, and that fact alone keeps this film from ever being predictable. Likewise, the male antagonists share a stark contrast in personality from beginning to end that reminds audiences that behind every warm smile is a hunter not afraid to get his hands dirty. It almost forces you to go back and watch the film again to see how elaborate the act of a pervert truly is.
– Fargeat is as ferocious as it gets as a director. There’s a fine mixture of feminist onslaught, combined with bloody brutality that not only satisfies audiences, but also has something to say about modern communication between the sexes. In addition, she never sacrifices style for substance, instead proving that a game of aggressive vengeance can feed into both.
– My early favorite for best musical score of the year by Robin Coudert. These tones capture a techno/new wave synth that command the strings of tension for each inevitable conflict. Even more impressive, Robin’s numbers are never redundant or derivative of the same ten seconds of audio on repeat. They very much expand in the same way the violent sequences do.
– There’s almost a satirical aspect to the screenplay that brings together every stereotype for white, rich males, but the air of familiarity keeps the impact of illusion firmly at bay. Sometimes the most difficult things to express are the loudest truths, and this film gives you more than a few perspectives at female dating that so-called ‘Chick-flicks’ just can’t capitalize on.
– The title is short, sweet and straight to the point. I don’t often give points for a title, but ‘Revenge’ hits the nose with everything the film encapsulates.
– Carnage candy for days. Even for a horror enthusiast like myself, there were two scenes in this film that made me wince in agony. Fargeat is happy to oblige in giving us the most disgusting and volatile angles that she can muster, choosing to never look away or put on the brake pedal from karma’s greatest game. Beyond this, each form of revenge in the film is a form of penetration, and that’s something that I don’t think was an accident when you consider the touchy subject matter of the first act.
– What is so astonishing about Fargeat as a first time director is not only her ability in giving genre enthusiasts what they want, but also the twists with genre cliches that she offers another take for. In this film it is the man who bares his body. In this film it is the men who make the stupid decisions. In this film the rape sequence doesn’t need as much spoon-feeding as in other films like ‘I Spit on Your Grave’ to be effective. The way it is shot and focused upon proves that the implication is more than enough to get her audience so invested in the moment.
– Much of the sound mixing here offers a stark contrast than what we’re used to, in that it heightens those moments of quiet in which characters are known to hide or plot to offer us a perspective into blood-rising or adrenaline boiling over. This made for some of the more exciting scenes than even that of the attacks because a volcano won’t blow if it’s not given the pressure to rise to the top, and the payoffs each time are that much more stimulating because of the poking and prodding to the audience.
– Some of the imagery edited into frames are a tad bit too practical for my taste. While they all make sense from a creative standpoint, I couldn’t escape this taste of obviousness a time too many. I feel like the film works best when its social commentary feels earned and not forced, and sometimes these brief moments of inclusion soiled the impact of letting Lutz take the reigns for herself.