Calvaire

Belgium might not be one of the world's premier film-making nations, but they sure know how to make a good bizarre exploitation flick with the power to get under your skin! Calvaire might not be a film to please the mainstream horror fan, but for those like me who are into the darker, more extreme side of cinema; this film is a treat indeed. Director Fabrice Du Welz has packed his film with a plethora of bizarre sexual acts; which is best illustrated by the fact that the hinted bestiality isn't all that shocking in comparison to some of the other character's delights. The film works from a very simple premise that has been seen in many other films, but it's what comes after that is important. We centre on Marc Stevens; a singer that is unfortunate enough to break down in the middle of a forest during winter. He takes up residence in a near-by farm house owned by a slightly odd old man, who apparently used to have a comedy act. What Marc doesn't bank on is the insanity of his host, which comes out in the form of an ordeal in which Marc is tortured, beaten and humiliated in just about the strangest ways possible...

The biggest standout of this production is director Fabrice Du Welz, who gives the film credibility in spite of its subject matter with some inventive usage of the camera which succeeds both in creating a dark and ominous atmosphere, as well as generating a surreal tidal wave of disorientation. The way that the camera swirls round the deranged characters at a 'family' scene, for example, helps to give the film a nasty tint that excellently compliments the subject material. It has to be said that, at times, the bizarre sexual practices get a little out of hand, and it's hard to really take seriously; although in a way this helps to further implement the stark and surreal atmosphere, which in turn helps the film to achieve its aim of shocking its audience. The acting isn't a strong point, however, as some of the central performances are more than a little flat; although this isn't a massive problem as exploitation cinema has never been known for great performances, and the set of actors do succeed in getting the film's point across. Overall, this is certainly one of the weirdest films to be released in the last few years and comes highly recommended to fans of cult cinema!

The subject is not new: the you-take-your-life-in-your -hands -when -you-get-into -that-inn trick was the subject of Claude Autant-Lara's "L'Auberge Rouge" (1951)and of Hitchcock's "psycho" .One can also notice borrowings from Schoedsack/Pichel's "the most dangerous game" (1932) ,from "Texas chain saw massacre " ,from François Ozon's "Les Amants Criminels"(1996) .The atmosphere even recalls sometimes that of the director's compatriot André Delvaux's "Un Soir Un train" (1968).But the main influence is a French movie: "Barracuda " by Philippe Haïm starring Guillaume Canet and Jean Rochefort;Marc and Bartel strongly recall their characters.

Let's forget the hackneyed quicksands trick,which could not happen ,if the writers knew about Archimedes's theorem.All that remains is really spooky.The first part succeeds in building a tension ,without any special effect.The Christmas party,when the singer performs in front of a bunch of old ladies in an old people's home already leaves the viewer ill at ease.In the following sequences ,fear grows and never leaves you.Even the story of the dwarfs (did you notice the children dressed as little red riding hoods in the woods?) and Mark's song seem lugubrious,sinister.

Except for the old ladies and the nurse who takes care of them (played by an ex-porno star Brigitte Lahaie) ,and one or two peasant women on the farm,this is a male bestial atmosphere.Marc's cries look like animal screams .

Not for the squeamish.

I first saw this in the early 2k on a dvd which I own.

Revisited it recently.

The plot - On a Christmas eve, a singer's van breaks down in a deserted and marshy region. The singer takes refuge in an inn run by a hospitable but creepy innkeeper who became psychologically upset with the villagers after his wife left him. The innkeeper offers to repair the singer's van as a token of brotherhood between professional entertainers.

The next morning when the singer tells the innkeeper that he is going for a walk, the innkeeper suddenly becomes paranoid and aggressive, warning the singer not to go into the nearby village.

The movie has tons of atmosphere but is very claustrophobic, surrealistic n horrifying at times.

The bar scene where outta blue the people starts dancing with one another is downright creepy.

The backwoods village without a single female character and not a single sane male character is an epitome of eeriness.

Wow...the other review is nuts. This movie was fantastic!

I got a chance to thank the director (in french) after the film. The lighting was unbelievable, the acting was great, the directing was great, and the script was fantastic. Definitely not for the weak of stomach...pretty gory and painful at times, but let up with some hilarious moments (ie. the dance). They shot on super 16 which gave it an incredible grainy quality...very 1980s sci-fi/horror (which i liked). It was very dark with extremely high contrast, and some beautiful locations. The end seemed like a bit of a let-down at first, but the more i think about it the more i like it. (won't give it away though).

Suffice to say it was gorgeously shot, great cast/crew, and a interesting take on insanity and love. The director described it as a 'love story'...ermmm...yes? with a crucifixion...and pig buggery...

anyways, I would LOVE to see this get a release (without a re-edit), or at lest a distribution deal. It really deserves it.

-cheers,

claire

Fabrice Du Weiz's thriller mines "The Texas Chainsaw Massacre", "Deliverance" and "Straw Dogs", Still, it is unique enough and original enough in its cinematic eccentricities to be noteworthy.

A travelling showman (Laurent Lucas) finds himself in hostile territory when his van breaks down. A local jack-of-all-trades (Jackie Berroyer) helps him out, but is soon helping himself to Lucas's van, mind and body.

The film takes interesting, perverted turns and dishes the atmosphere thick. A fog-shrouded chase through the woods is almost surreal, and a fantastic dance sequence with hillbilly-like weirdos works a twisted treat and foreshadows a surplus of gloom and doom.

The violence is not plentiful, but the sense of threat is always present. Benoit Debie, who photographed Gasper Noe's IRREVERSIBLE, creates memorable, haunting images and makes expert use of the terrific locales.

A solid, oddball shocker, but overlong at times.