Like Dario Argento has renewed the registration of horror in the '70s, the French now are paving the way forward, on all three tests support this conclusion: High Tension and The Hills Have Eyes, Alexandre Aja and Frontiers, by Xavier Gens. The first two in particular show that there is a "thin" to respond to the atrocities that come from the United States. The new frontier in the French horror genre to a dignity and a more extensive usability via a way of making a film that takes care of writing (characters and time) and form (the music is always amazing). The "monsters" are never there to offend and victims scriteriatamente are never there to offer their meat as sacrificial lambs. In some ways it is as if the lesson of Hostel was heard, learned and high. In a nutshell I would say that it is plausible that aura of realism and the true figure of this surprising and pleasant current.
Having framed the main frame come to Martyrs, the film more than any other will give the dedication to the French school horror, as it is, perhaps, the maturity of its kind, the diamond that shines more, the horse who has run faster than others.
not Martyrs only a great horror, is a great film that redefines the standards from top to bottom like that. It 'a film caught, deep, raw and shocking, despite the deafening amount of blood you can not remove his eyes from the screen. The attention to detail, love of the likelihood and at the same time, the desire for transcendence, are blended seamlessly, like a journey towards the end, it is death or God Asceticism (which is then the real point of the film) is not only told, but was proven: In a series of steps, but also tremendous yearning, the authors lead the viewer by the hand until their final dissertation, which, to date, is also the most credible and more exciting God I've ever seen.
I know it sounds "big words" but I assure you that martyrs will leave something that is not easily forgotten.
Bringing the discussion on more pragmatic tone, the largest found in the narrative is dramatic change of perspective that, in the middle of the film turns completely the point of view, after the death of the "protagonist". The last time I saw a steering handle with great care so drastic has been the death of Janet Leigh in Psycho. And I've said it all.
If you really, then, we find the hair in the egg, then we say that the only flaw is small, perhaps in an excessive length of one to two steps and in some delay too much when the pace required a bit of fuel.
remains an absolute test of artistic skill and narrative that, although there inorridirà, deserves to be enjoyed with nerves taut.
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