Revenge Movie

Revenge Movie – Revenge (Coralie Farjat, France/Belgium 2017) Posted: September 26, 2019 Film Tags: Action, Coralie Farjat, Horror, Kevin Jansens, Mathilde Lutz, Rape and Revenge, Vincent Colomb

On the surface, REVENGE is as simple a film as its title suggests: hot young Jen (Matilda Lutz) goes with her rich and handsome boyfriend Richard (Kevin Janssens) to a luxury designer’s weekend retreat in the desert. The two are joined by their “business partners” (read: partners in crime) Stan (Vincen Collomb), whom Richard always goes hunting with, and Dimitri (Guillaume Bouchet). Jen’s outspoken behavior during the evening together angers Stan, and the next morning, in Richard’s absence, he silently rapes her in front of Dimitri. When Richard returns and finds out what happened to Jen, he reveals his true colors: he offers Jen quiet money and a new life in Canada. When he refuses, the three men throw him off a cliff and kill him. But Jen isn’t dead, she wakes up as an avenging angel and has little to do with the three lost pigs.

Revenge Movie

Revenge Movie

REVENGE is a very simple indicator of a plot-level movie about rape and revenge: it gets straight to the point in everything it does, and it ends when Jen does. Officially, it’s quite different from genre classics like I SPIT ON YOUR GRAVE. 45 or THRILLER: FILM EN GRYM. If they’re mostly raw, dirty, and deliberately “ugly” – in keeping with their time – REVENGE shines through its brilliantly composed, highly stylized visuals in the most brilliant colors. The gap between the initial violence and the revenge is also striking: while the rape is usually portrayed as brutally as the subsequent act of revenge to legitimize it, in REVENGE it takes place almost entirely off-screen. While Stan abuses Jen, Farji turns off Dimitri, who turns up the volume on the TV so he can’t hear her screaming (it’s a car race), then jumps into the pool. The director postpones the graphic depiction of violence: first, Jen is impaled on a tree after a fall, then she walks with a branch protruding from a stomach ulcer, which she surgically removes with the help of peyote. Then their torturers ask for their blood. In its grim scenes, REVENGE sometimes veers into deliberate farce, and in its grotesque depictions, it’s not far from the mad dash of BAD TASTE fun. The climax is Stan’s only injury as he reaches into a deep cut with a few fingers to pull out a splinter as a bucket of blood pours from his hand. I don’t think I’m the only one who sees the sexual connotation of this wound and the stark contrast with Jen’s phallic irritation. This can’t be a coincidence, and it’s just an example of the visual complexity of a film that at first appears to be “sophisticated”. Then, in a confrontation where Jen competes with her ex-boyfriend, they transform the aseptic and labyrinthine interior design of her bungalow into a butchery that has nothing to do with refined chic given their massive blood loss. Here’s the TV on again, two women extolling the consumerism wonders of the shopping channel. Revenge isn’t overtly funny, but his obsession with open wounds, self-mutilation, bleeding, and foreign bodies borders on humor, as does Fargiat’s anger at machismo and misogyny, materialism and capitalism, violence and gun fetishism. . lighting subliminally rather than text telegraph.

Revenge (coralie Fargeat, Frankreich/belgien 2017)

The same goes for the way it’s narrated: Revenge is a fevered dream where we take an inside perspective instead of looking at it from the outside with horror and alienation. Jen’s survival after falling off a 100-foot cliff and feeding on the skeleton of a dead tree is completely unbelievable, but Fargiat thinks her resurrection is the most normal thing in the world. I waited for a further statement that it was not vulnerable, but it never came. Jens’ transformation into an avenging angel – from straw blonde to red hair, from colorful bikinis to gray underwear, from flawless skin to blood and dirt – this is what he has to accept. She was sucking those sweets with her red lips. now he anesthetizes himself with peyote, removes a stake from his stomach, tattoos a flying phoenix on his skin, and cauterizes the wound with a cut beer can. Before wielding a pink MP3 player, she now roams the desert with a six-foot-long shooting club, killing seasoned hunters.

I don’t know what to do for revenge. It’s an audiovisual feast that offers hope for the future, but still feels like a finger exercise, a last practice before the big dress rehearsal. It sticks to a tried-and-true form that it barely changes, focuses on the “how” rather than the “why” and somehow relieves itself of the burden of telling an interesting story. As mentioned above, Ibilis keeps REVENGE from becoming a dumb exploit with detailed, irritating moments, but it’s still a pleasure to get gore builders and fans of the genre on board. You can tell that Fargiat really wants to kick her male audience in the balls, but she still can’t break out of the confines and conventions of the genre. But I’m excited to see what happens next. Rich and married Richard (Kevin Janssens) brings his girlfriend Jen (Matilda Anna Ingrid Lutz) to a luxury villa deep in the desert – the kind of gorgeous paddock only accessible by helicopter – as an appetite for a few days of recreational sex and drugs. a hunting trip with his friends Stan (Guillaume Boudeche) and Dimitri (Vincent Collomb). The other two guys, significantly less attractive, show up early and crash the party. As Richard leaves on an errand, Stan feels entitled to screw Jen. Rejected, he goes into a terrible rage and rapes her, while Dimitri shrugs and eats candy. Even the girl, whom an irritated Richard sees as disposable, refuses to pay and ship … so Richard pushes her off a cliff. Impaled to a dead tree and overrun by ants, she must die… but doesn’t, revealing a reservoir of supernatural power unmatched in female revenge films outside of American Savage, where the avenger is brought back to life. magic. Here, the director’s hand – later, the drug – pulls that trick. A trio of macho creeps set out to fix her mess by hunting her down, and she goes to extremes to get back at them.

Written and directed by Coralie Fargie, this French production treads well-trodden paths, recreating the I’ll Spit on Your Grave plot with elements of wilderness survival and hunting, set in the spectacular locations of North Africa but set somewhere in America. Taken from the first blood and most dangerous game. It even harks back a bit to the Raquel Welch Western Hanni Caulder — and the stark, screen-filling-in-red-letter title has been used so many times before that it feels like a generic tag. Lutz, the main character of the rings, follows the camera through time – at first as bottomless and sulphur-darkened porn fiction, with lollipops and star earrings, peaches and a small alien (?) in the dialogue, but more and more. like a wounded but resilient creature, marking itself with the scar of a beer-drenched eagle, dirty and bloody and intent on restoring itself. Fargiat isn’t the first female auteur to direct a revenge film, but she brings a slightly different sensibility – Janssens is more naked on screen than Lutz, has just as many bottom shots as hers, and the final showdown is a brawl with her. while he’s loose and bleeding, his fancy skin block is redecorated with goo; and the initial attack is tactfully shot, when the camera assaults Jen as if it were the least guilty, somehow the most terrifying of the men in the next room.

The film does not invent much in the way of narrative complexity: there are no new twists on the same old story, and the basic, predictable plot unfolds in 108 minutes. It’s also detailed (the brand of beer cans has to look like it’s written on the mirror), and the character occasionally does something stupid to fit the film (he doesn’t steal a pair of boots when he has the chance). We don’t have any history, but we can determine the detailed relationships between the characters and how they act in extremism – this does not bypass the main issue, but it is difficult not to appreciate a woman who is willing to hope, even if she suffers disproportionately. primarily rich, but at the same time very wise and with a nasty appearance. However, it is

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