Préjudice

In "Préjudice" underground tensions suddenly erupt to the surface during a family dinner. In this respect the film is not unlike "Festen" (1998, Thomas Vinterberg).

In "Festen" however we get more and more sympathy with the victims, in "Préjudice" on the other hand our sympathy with the "victim" declines during the film.

The "victim" is a boy (Cédric played by Thomas Blanchard) that is behaving strangely and of whom we suspect at an early stage of the film that he has some sort of mental illness. Together with that presumption naturally arises some sympathy with this "poor boy". A sympathy he thoroughly forefeits during the rest of the film with his egocentric behaviour. At the beginning of the evening Cédrics sister anounces her pregnancy and Cédric simply can't stand that after that announcement she is the center of attention. After that he terrorizes the rest of the evening.

In this way "Préjudice" plays a trck with the expectations of the viewer. We are inclined to have sympathy with the weak, the assumption being that they are also sympathetic. In "Préjudice" Cédric uses his weakness to terrorize his (benevolent) environment.

Another aspect of "Préjudice" is the way it uses the natural environment c.q. The weather. The natural environment is filmed extremely out of focus but mimicks the atmosphere of the dinner party. Most noticable in a scene in which a torrential downpour suddenly breaks loose and dinner has to be moved from the garden to indoors.

I warn you, that's not for all audiences. This very disturbing movie is long before it lets you get into it. But after thirty minutes, you may feel dizzy and feel ache in your belly. Dizzy but glued to it. Astounding performances that don't prevent some people among the audience to run away towards the cinema exit. You can also watch it as a tribute to Michael Haneke and his country: Austria. I let you find out why. Nathalie Baye is as outstanding as usual and the new comer, the Belgian actor who plays his son is also unbelievably good, unforgettable.

And, I repeat, beware before going to see it. It's worth, but not for every one. I don't know the director nor most of the actors.

This is a riveting, at times disturbing film that may burn a little too slowly for some, but it kept me gripped and uncomfortable throughout, in no small part thanks to Frédéric Noirhomme's stunning cinematography. Thomas Blanchard and the ever- dependable Nathalie Baye are simply superb. The twist at the very end of the film is so sublimely understated, yet so shocking, it totally undermines the comfortable prejudices that the film lures you into. Highly recommended!