The Beast

Though it's really way too long, I did rather enjoy the developing chemistry here between Léa Seydoux ("Gabrielle") and George MacKay's "Louis". The story isn't really structured, it's all largely dictated from her consciousness lounging in the bath of Guinness no longer needed by "Baron Harkkonen" where she is having her DNA cleansed. This is ostensibly to make her life happier and more fulfilled, to take the rough edges off disappointment and pain - and generally to turn her into a rather soporific drone. The thing is, whilst plugged in and gently soaking we discover that her brain isn't co-operating with the process and that she is having very lifelike fantasies - historical, contemporary and futuristic with the handsome and enigmatic "Louis". The story in itself isn't really up to very much. It's an episodic jaunt through what is/was/might be their lives - together and apart. What does work well is the ambiguity. The sense that artificial intelligence, either working on it's own or at the behest of humanity, can rearrange our thoughts and our memories. It can create as convincingly as it can delete comprehensively - and all because there is a sense that emotions are unpredictable, unreliable and therefore a threat to the stability of a new "natural order". The dialogue can meander into the realms of psycho-babble now and again which does detract from the subtle but clear thrust of the narrative, but it is actually quite a scary prognosis of what might become fact if we are not careful to protect what is real and important.

Beautiful costumes and stunning sets, amazing performance of the two main characters. An original and engaging screenplay that resonates with contemporary matters. A movie that raises intriguing questions about the evolution of technology and its role in modern society. Bonello appropriately explores the importance of emotions and affects : are they desirable or to be avoided at all costs ? This movie offers a captivating and enjoyable travel through time and ages, deserving to be appreciated at its right value. The only criticism I would offer is that I found it a bit lengthy towards the end, and, at times, it was difficult to follow and understand.

A cool concept that's lost in the confusing execution. A good score with sleek set pieces but the jarring tonal shifts seem random. Clearly deep messages & themes but I can't get my head around them. Yet Seydoux is mesmerizing as always.

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. A cool concept that's lost in the confusing execution. A good score with sleek set pieces but the jarring tonal shifts seem random. Clearly deep messages & themes but I can't get my head around them. Yet Seydoux is mesmerizing as always.

. .

. A cool concept that's lost in the confusing execution. A good score with sleek set pieces but the jarring tonal shifts seem random. Clearly deep messages & themes but I can't get my head around them. Yet Seydoux is mesmerizing as always.

Let's be clear, for this, you can't be faint hearted - you will need a strong constitution, when this gets started, interpretation is the key, as without, you may just flee, missing out on what the maker wants imparted (although absorbing to the end there's a good chance you won't make head nor tail of what's going on). In a future where the world's run by machines, with intelligence they interact like fiends, Gabrielle gives them an ear, bathing in liquid not clear (tarlike in fact), she is taken to a world that's made of dreams. There she interacts with someone that she loves, the scenarios are there to give a shove, to remove adoring bond, of the one that she is fond, and extract her hand from fitting, in the glove.

Both Léa Seydoux and George MacKay are quite spectacular, and so are you if you can connect all the dots.

When David Ehrlich reviewed The Beast (org. French title La Bête), he made the case -- that the movie makes the case -- that we ought to demand every major arthouse director make "their own Cloud Atlas" before joining the choir invisible. That is a fair way to view Bertrand Bonello's recent opus - a languid sci-fi drama that, as far as I'm concerned, solidified the movie year of 2024 as worthy of '23. When seeking out strange and defiant new cinema, this is exactly the kind of mystifying journey on which I yearn to be taken.

In the film, we follow Lea Seydoux through what appears to be different time periods. In several of them, the construction of dolls is involved. In the past and present storylines, she encounters a man played by George MacKay; in the future, she seems to dream of all these moments while submerged in a dark substance. Are they real events on any level? Hey, don't look at me.

It is the sort of film that might easily turn some people off and seem inaccessible as I describe it. (Others have likened its atmosphere and dream logic to the works of Lynch and its unsettling view of love and sexuality to the works of Cronenberg.) But I assure you that the film as such is often quite funny, with MacKay portraying one of the most wince-inducingly accurate parodies of the Incel archetype we've ever seen on film -- his pathetic "I deserve girls" vlog is one of the highlights of the picture, although its similarities with the infamous Elliot Rodger rant will doubtless disturb some viewers.

If that's not doing it for you (understandable), the film also offers beautiful shot compositions, masterly lighting, and wicked satire of modern movie-making itself, chiefly the digitalization of it.

Also, I guess in one of the time periods or "realities" or whatever, Seydoux's character is an actress whose credits seem to include Harmony Korine's Trash Humpers. As it happens, we'll be talking more about Korine later -- along with a markedly less intelligent contemplation on modern/future cinema.