'll look now become a lover of horror. Not so, when I see talent runs after him. A few months ago was the post on the new wave horror French (of the Hague and Gens), now thickening by a recent discovery: Fabrice Du Welz paired with his writer Oliver Blackburn. The films are three, all to see. I saw them on three consecutive days, following the enthusiasm.
Calvaire (2004): I do not remember how I found it but it's been a real upheaval. More disturbing Martyrs, Calvaire tells the story of a mediocre singer that theater staging, failure due to the van, in the hotel wrong, wrong in the village. It seems the usual plot to "Texas Chainsaw Massacre ", the ingredients are the same, but here nothing is as it seems. The views are reversed: the victim must face the executioners whose world view has shifted, almost always reversed, and their mental abnormalities act in unison , resulting in a trip (an ordeal, in fact) deeper into the nightmare, the fact of desolation, alienation, deviation. The film gradually rises in intensity: after half an hour, which sometimes need to "resist" despite being immediately obvious the talents of the director, the last part is a crescendo of blows to tremendous effect. A sequence of all, the final showdown, shooting prependicolarmente the room is a magnificent vision of a frightful force is very rare. The audience is completely lost by the absence of references rational, feeling totally shared only with the tortured singer. Frvi Just to understand: the protagonist is called by all "Gloria" or "whore." A lamb is consoderato be a dog, when not in use for a practice that I am ashamed to even write. For really strong stomachs, Calvaire sports a strong and talented visual survey of the nightmare (with implications Christians) unsettling, creating the most depressing film I've ever seen. That night I woke up three times a prey to nightmares. For real.
Vinyan (2008): four years after Calvaire, Du Welz is back with his own Apocalypse Now, which of course enjoyed the benefit of American nutshell, yet without compromising too much the characteristics that have brought to the fore with Calvaire. A married couple loses a child during the tsunami and decided to return to Bourma to find him. Thus begins their journey in fear of a beautiful forest populated by gangs of children. Unfortunately for them there are the "lost children" of Neverland '. Again Du Welz depicts an inner journey that slowly loses adherence to reality, becoming a stream where the protagonists can only obey. Constant over Calvaire remains to impotence in ocnfronti of fate, it seems that react no use: the only way to salvation and redemption through the blood and the recognition of insanity as a necessary evil to atone for the guilt. Emanuelle Béart, beautiful, retains clarity for just over fifteen minutes, and then show yielding and united with the spirit of children and the forest.
Less "gore" and less amazing Calvaire, Vinyan still retains an admirable originality, never falling into the banality of the genre and exhibiting the usual beautiful sound and visual talent. A gem, elegant and deep.
Donkey Punch (2008): Directed by Oliver Blackburn (scittore trusted Du Welz) is by far the most conventional of the three, no great idea, neither subject nor technical, but a super-luxury box to remind American journeyman who can make a teen-horror in a slightly more cultured. Three girls in Majorca are invited on board a yacht with four guys in the crew license. The little party, will turn into a nightmare when an accident will result in nervous breakdown and an absurd sequence of deaths. Donkey Punch is a deja-vu in many ways, but photography, music and recitations sometimes lead him a bit more above average. Sballone half-erotic-teen (soft core, but rather explicit), half-splatter, with stabs, propellers and rockets fired into flail chest: the combination is successful, the film is enjoyable and fresh, especially in the first part. To see it, and how it is with the "smile". Ah, I think we are only in their original language.
PS Donkey Punch is an urban legend that, unleashing a sharp blow on the neck to the partner while having sex abuse, there would be a prodigious effect.
JS
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