Based upon Sébastien Japrisot’s 1977 novel of the same name, L’Été meurtrier – or as it is known in English speaking territories, One Deadly Summer – stars Isabelle Adjani as Eliane “Elle” Wieck; a troubled young woman who settles with her family into the small rural town in the south of France.
In Climax, a troupe of young dancers gathers in a remote and empty school building to rehearse. Following an unforgettable opening performance lit by virtuoso cinematographer Benoît Debie and shot by Noé himself, the troupe begins an all-night celebration that turns nightmarish as the dancers discover they’ve been pounding cups of sangria laced with potent LSD. Tracking their journey from jubilation to chaos and full-fledged anarchy, Noé observes crushes, rivalries, and violence amid a collective psychedelic meltdown.
“You despised I Stand Alone. You hated Irreversible. You loathed Enter the Void. You cursed Love. Now try Climax.”
The most gratuitous violence we witness is at the hands of those positioned in the role of victim. Clem leaves Lucas to look for a way out and is chased by one of the assailants through an unfinished room containing a number of hanging plastic sheets, another metaphor for the social divisions and obstacles that exist between the couple and the youngsters. This culminates in her being pursued through an attic space; so far, no physical violence has been directed from the youngsters towards the couple.
“They wouldn’t play with us…”
For Clem and Lucas, their house represents not only their success and status in society but it functions as a place where they can relax and feel assured that they are protected. The home they have chosen reveals a lot about how they perceive themselves and perhaps most importantly, how they’d like to be perceived by others. Originating from France, a country widely known for upholding its values and traditions, it’s telling that their house is the embodiment of these things. Grand and spacious, it reflects the opulence of eighteenth-century France with its vast corridors and period detail.
“This can’t be happening…”
Stradling the sub genres of the new French extremity, home invasion and the controversial, oftentimes topical subject of the young and alienated working classes, Ils offers up a set of complex questions that are juxtaposed with its very simple and fast paced framework. We can all recall a time when we have been alone in our homes at night and felt under threat for some reason, even if that threat transpires to be nothing more than a creaking door or a loose floor board…
“You’ll never feel safe in your home again.”
For years fans waited for the release of a sequel to Ruggero Deodato’s trendsetting Cannibal Holocaust, yet it would take almost a decade for The Green Inferno to arrive… and it wasn’t what followers of the Italian cannibal cycle were expecting.
First there was Cannibal Holocaust… Then came Cannibal Ferox… But somewhere in France, someone was already hatching a plot to cash-in on the Italian intestinal classics with Cannibal Terror!
“The thirst for adventure!”
It’s extremely rare that a director creates a sequel to a short film, but director David Teixeira obviously felt he wasn’t finished with his tale of ‘Bloody Mary’.
The first film told the story of three friends, Jess, Alyson and Chloe who spend the Halloween weekend at their friend’s country home partying. Late into the night they accidentally summon the legend of ‘Bloody Mary’ after speaking her name three times. We now pick up the story with Jess staying with her friend Pierre, trying to recover from the incident the year before.
To achieve a successful short film firstly you need to have a solid idea. Having such a short space of time to tell an entire story is an extremely difficult feat, but when it’s done right it’s a joy.
Girls Night from director David Teixeira tells the story of 3 friends, Jess, Alyson & Chloe, who are kindly permitted to use their friend’s home for the weekend and have a girls only Halloween party. It’s here that the legend of ‘Bloody Mary’ comes up…