Two films after work on Thursday 13 October, both of them very solid outings, and seen in the same cinema, but with quite a different vibe. The first was a rammed, sold out house who responded with glee to the film, whereas the second was very much a half-empty auditorium with a sense of detached weariness (maybe that’s me just projecting onto French arthouse lovers, or maybe I was just grumpy because of the smell of someone’s kebab behind me).
Prevenge (2016, UK, dir./wr. Alice Lowe, DOP Ryan Eddleston)
At this point in my life there are plenty of films which only remind me of other films, and that’s fine, but it’s nice to see something that feels a bit unexpected. Prevenge is a film made by a pregnant woman about a pregnant woman who is systematically taking her murderous revenge on her perceived enemies (to say more would probably constitute spoilers), and it somehow feels a bit new. Both those pregnant roles are taken by Alice Lowe as director/lead actor, who threw the project together very quickly for biologically obvious reasons. In its blend of black comedy and jagged emotional turmoil, it is never unwatchable and sometimes both affecting and very funny, and Lowe is particularly good at turning suddenly from chattiness to a deathly unsettling stare. It seems to be allegorising aspects of motherhood, but it’s also good fun if you can stand a little bit of gore — a staple of both horror cinema and maternity. [***½]
Voir du pays (The Stopover) (2016, France/Greece, dir./wr. Delphine Coulin/Muriel Coulin, DOP Jean-Louis Vialard)
This is a film about French soldiers on the way home from a tour of duty in Afghanistan, who go on a three-day retreat in Cyprus on what their army bosses call “decompression”, though I can’t think of a word further away from what happens in this film. Instead it’s very much a pressure cooker environment, as the soldiers go through group therapy reliving key incidents in their recent tour in which it quickly becomes clear that lives were lost and bad decisions were taken that various members of the group feel either responsible for or powerless in the face of. It’s also a film about women in the military and the specific pressures on them, not just in their job but especially from their male colleagues. Throughout there’s a tense atmosphere, as if hostilities are about to kick off at any moment, emphasised by the tight shot framing and the glass prison mise en scène of the luxury hotel, whose vistas promise such illusory freedom. In truth there are a lot of ideas kicking around here that never quite (for me) come together fully, but the actors are all excellent, not least Ariane Labed as Aurore — the reason I booked a ticket to the see the film in the first place, for she is among the finest currently working — and her tightly-wound friend Marine (played by a singer known as Soko). [***]