Partisan

This film presents a microcosm of a society governed by a strong patriarchy. Ostensibly it's a haven for those who have suffered at the hands of the wider world but, as the movie slowly reveals, the line between the safety of a haven and the exclusion of fascism is hard to draw.

The most common complaint against this film appears to be that it is 'ambiguous'. However, in my opinion, the film is not ambiguous at all, rather it is 'ambivalent', which may have confused some. The film swings between dichotomies - love and aggression, truth and lies, freedom and control etc. Beautifully summed up by a shot in which Gregory carries in one hand bandages and in the other scissors, perhaps also emblematic of the Eagle in the US federal seal (olive branch in one claw, arrows in the other, literally meaning peace and war).

In my view this film presents us with a social philosophy, one which examines how the sins of our past are passed down onto the children of our future. Even with the best intentions the patriarchal harem that 'Gregory' has created, with its goal of protection, relies on his ability to be totally benign which, owing to the vicissitudes of human nature, is impossible. Thus the ideal of fascism becomes a facade behind which repression and hypocrisy reside. The micro-society depicted is a partisan one. However, the true follower of its values himself becomes a partisan and ironically is therefore in transgression of his autocratic ruler.

There are rich visual metaphors throughout which support a fully animated subtext. All elements of this film are superb, including the acting and the directors gradual unravelling of the pervasive ambivalence in relationships is masterful. The message here can be translated both socially and personally and because of that, like many great films before it, it has a multiform impact and can be watched in many ways. It's not quite genius, but it is extremely good.

Personal, relevant and very well made.

Vincent Cassel stars in this Australian film as Gregori. He has a harem of women who all have children – mostly it would appear – with him as the father. They live in an isolated community where they seem to lead a happy life with the children learning yet enjoying their childhood. Gregori is the only man. His eldest son is Alexander and at first we see true paternal love and the reflected devotion.

However, all is not as it seems as we learn that the outside world is not a nice place and Gregori is training his children to be 'hit men' or hit kids more appropriately. As Alexander learns more of the world forbidden to him he slowly starts to question what his father's motives are and their way of life.

Now this is extremely well made being in part made by Animal Kingdom 'It Follows' fame. The actors all seem to be unknowns but all do brilliant jobs of what was a very physical film in terms of what is expected. Cassel is just as good in an English language role as he is in his native French and puts in a stellar performance. The plot was apparently inspired by child soldiers of Colombia. It is a very thoughtful film and despite the violent undertones is actually fairly responsible in avoiding the actual gore but still addressing the issues head on. It has had mixed reviews but I for one found that it stayed with me long after having seen it – which is always a good thing. This is for people who like to think about their films and who appreciate an original film delivered in a realistic way.

Vincent Casel plays Gregori, the King and leader of his self created Utopia, made of damaged women and children groomed for a life of crime and control from Gregori. The children are made to commit horrendous crimes, including murder. Gregori considers himself a figure akin to a religious leader, instead he's a spider at the centre of a web. One of his boys 'Alexander' has the mental ability to look beyond Gregori's brainwashing, he begins to question the life he's living and soon starts challenging Gregori. Alexander also has a natural curiosity for life outside the commune, his mind is inquisitive, naturally so at his age. As the film goes on it becomes apparent that Gregori and Alexander will never see eye to eye and the commune will never be big enough for the two.

A very intelligent movie, it's one that will make you think and ask do similar events happen in the world. It is a very original movie, I can't think of many similar movies I've seen.

The movie is hugely character driven, there are some long dialogues, deliberately there to show the motives and conflicts of Gregori in particular.

Some moments where you're not quite sure what's going to happen, Alexander's trip to the shop being one. In my opinion the story is actually very strong, it's all about Gregori creating his own mini world, adding what he wants, and ridding what threatens it.

Brilliance from Vincent Cassel, as is often the case, he manages to make Gregori manipulative, powerful and somehow dangerous, he put in an excellent performance.

Just Excellent. 9/10

Colorfully decorated sets and Art-Design paint a cheerfully bleak existence of a "Family" of self isolated misfits and victims of a larger Society that have isolated themselves from the "Hurt" of reality.

Likable but verging on insanity, charming like most Cult-Leaders, Vincent Cassel is slowly shown to be a manipulative maniac giving refuge to single Women with Children. What transpires is a depressing scenario.

This offbeat, low-budget Australian Movie has Philosophical, Psychological, and Societal things on its mind and delivers engaging but erratic implications of the Human condition, its strengths and shortcomings.

Worth a watch for its Artistry but the deep subject matter is never fully thought out and seems a shortcut with its ambiguous storytelling. Much needed background to make it convincing and insightful is never supplied to the viewer and that does this ambitious little Film a disservice.

Because in the end the extremely interesting and always good to look at Movie is big on display but does not have what is most needed in this type of thing, information for involvement.

The movie provides a safety of anonymity over its characters by never giving away the location of the setting, an isolated dream taking place beyond the pale of society with its own mechanism, but sometimes a lucid dream gives life to what is kept in the deep hollows of the collective consciousness.

Alexander, a young boy of sensibility, lives among a community of children and women overseen by just one man, Gregori. The film documents the manipulation that takes place as the group exist to function for a cause of its own and juxtaposes the fanaticism, of a controlled and ultimately an abusive nature, with the open wonder of the innocence of childhood.

The mechanisms of Oedipal crisis is at work and Alexander opens his eyes to the world around him, made significant with the arrival of a baby brother. However, the much debated theme, commonly based on the Freudian concept of repressed sexuality, makes its transition much quicker to the stages of puberty and adulthood as the boy begins to realize his actions must now carry the consequences of social responsibility, or the lack thereof.

The film ends abruptly to prevent something really serious from happening. Instead, it leaves us on a poignant note of a scene, reminding us of Ezekiel 25:17, with boy Alexander emanating a plea for deliverance through his being as he stares down the only responsible man in his eyes.

Dream-like, painstaking and most certainly a unique film experience that's put the young director on my radar.