Sombre

in the usual sense of the term. This is a show for your senses : view of course, but also hear (the music of Alan Vega), smell or touch. The characters are filmed so close you can actually feel them in their gestures, you feel the love, you smell the fear. The picture is very dark, often fuzzy, never stable. It keeps on jumping from the lights of the car, to children's' screams, to womens' hips and hands on their throats. The film has raised a critical debate, some defining it as immoral and almost pornographic, the others considering it a pure chef-d'oeuvre. To my mind, it is both, and more than that. A real experience of cinema.

Tonight 'Sombre' premiered in the Netherlands. Present in the audience was the director of Sombre, mr. Philippe Grandrieux. He is known mostly as a maker of documentaries and videos, and it shows in Sombre, his first movie. Shaking camera's (he told the audience he shot most of the footage with a 35mm camera (about 24 kilo's heavy, that's gotta hurt at the end of the day), extreme close-ups and experiments with dark and light. It absolutely complements the story.

About the story. It tells the story of Jean (Marc Barbé), a man that has many sexual encounters with women, but ends up killing them. Why, we do not know. I think he tries to love women, but at the end his lust takes over and controls him. After a couple encounters he meets a woman played by Elina Lowensohn. Apparantly she's something else. She also has a history she's not completely happy with (why we don't know) and she joins Jean with her sister. It doesn't take long before Jean tries to rape and kill the sisters. They escape. But apparently she is somehow touched by Jean, a touch she can't forget (a romantic vision about love, says Grandrieux). She goes back to him. They have sex but at the end Jean drives her away. He can't be with her, because for the first (in the movie) time he experiences love, but he still can't control his lust and she can't be with him because she might end up being dead. Oh bitter irony...The movie ends with spectators of the Tour de France, a metaphor for reality watching this morbid fairy tale. And it is a bit of a fairy tale. Jean is a puppet player. He does a show in front of crowd of children (one of the best scenes in the film). He plays the wolf, the Beast! Eline plays the Beauty ( at the end of the film, I have my doubts about that, but anyway...).

It's a difficult movie! Grandrieux tells us that one of his main influences is the silent movie. Silent movies have spots on the film, the cuts are clearly visible, it's rough, 'it stays in the ears, even when you can't hear the sound'. And Sombre is rough and dirty. In some scenes you can almost touch objects, for example hair or a woman's thy. Other scenes are very serene and still, but you still feel the objects. Grandrieux tells us that he want to make the audience edit the movie realtime. And that was exactly what I did. You need some imagination with this picture, you have to fill in the blanks, because not much information and dialogue is given to you. What Grandriex achieves with this, is a connection between the audience and the film. 'Edit the movie the same time you are watching it'. Man, you gotta love that one.

Still, I would liked to have some more info on the characters and their history. I liked to know what makes them do the things they do. Now they are just doing them. And with almost no moral in it. There are some scenes where the theme hope is explored, but you got to dig deep. That results in dividing the audience in two teams. You either like it or you hate it. One more thing, the music. The music by Alan Vega is excellent.

See this movie, make your own story of it and make your own conclusions. Sombre is good material for the eyes and ears and the mind. Phillipe Grandrieux is a kind man who tought that the only way he could express his feelings with this theme, was by film. I rate it 7 out of 10.

Nauseating it is but, genuinely striking film making at work, both disorientating and disturbing in equal measure. If nothing else Grandrieux like Von Treir's "Antichrist" raises the bar for horror films here, but doesn't rely on "gore" and shock the way VT did, instead generating fear from a soundtrack of guttural human cries, moans, noises, and silences, and bringing us unbearably close to characters and sensations we desperately and instinctively want to avoid.

I still think the combination of fairy tale logic into such a brutal close focus doesn't gel as much as Grandieux believes it does, but there is something to be said for the notion that complete sentimentality and utter depravity are closer than they appear. I felt like an insect watching this movie, pinned to a wall of sounds and images. Not a good feeling, but horror films are not supposed to create good feelings are they. What's most horrifying about this film is it's lack of any moral aim, for all there terrors horror films do usually show the triumph of a "final girl" or the humanity of a monster, but like "The Descent" Grandrieux's universe is an unstable chaos of actions, desires, and terrors, but more so because even the logical rules of cause and effect, are no good here (like Funny Games' remote control scene but stronger and stranger), in one scene Claire and Christine escape Jean, only to have him magically appear in front of their car. Next cut he has them in his hotel, seemingly hypnotized as he for lack of a better word...sniffs their fear.

What's so violating about a scene like this is not the violation that goes on within it, but the breaking of narrative rules that we depend on in a film like this, for respite, the chance to escape to breath. Sombre is suffocating, and makes even "love" itself, normally a redeeming force, a horror to behold.

My first impression of Claire's attraction to Jean was echoing the Joe Jackson's "Is She Really Going Out With Him?". I felt not the usual jealously one feels when the object of your affection is publicly affectionate to the worst possible kind of person (or a decent person who is transformed into a monstrous caricature through sheer force of jealously alone), but one of panic. She does not know what she is getting into but we (the audience) do, having witnessed albeit elliptically at times Jeans earlier crimes. Eventually she does know who and what Jean is after he attacks her sister, but her attraction seems to intensify as our repulsion grows, and at first I felt this as a failure of understanding character development (no rational human being would willingly go back to THAT). But this was a failure more on my part than the films.

I was expecting realism, when right from the beginning the film announces itself as not existing in a stable mental landscape of coherent naturalism. Our first images are a boy blindfolded in a field feeling his way in the air, then abruptly the sounds of children laughing like hyenas as they watch a Punch And Judy show.The hand-held camera at times jostles around with Jean's or a detached third party pov and at others holds itself sustaining agonizing close ups, all to create it's own kind of rationality(something after watching more Guy Maddin and Mark Rappaport I find a little easier to understand or at least accept).

Claire and Jean's relationship is non-existent guided by the films only symbolic logic(chance or reason/hope), a prop like the puppets in Punch And Judy, but where Mister Punch, would kill his wife, his family, his jailers, and in some versions even Death and The Devil himself, and do so with a smile, Jean wrestles with his demons which are indistinguishable from his desires, and suffers for them. The film's final shots of Jean in the woods recall Lon Chaney Jr's. performance as "The Wolfman"(1941), and all the tragedy, doom, and masculine anxiety there in. In the days of 'Dexter" where serial killers can be heroes too, were all aware that wolves can wear human skin, and men don't need to transform into monsters to make beasts of themselves.

In Fellini's "La Strada" where a lovely clownish child-woman is hopelessly and helplessly in love with a brutish strong man who rapes, torments, and abandons her, we are forced to see "love" as a beastly thing which traps our heroin from the rational action of escape. But it's this break with realism and into the metaphorical which freed Fellini from the other Italian filmmakers of the day and allowed him to progress into his trademark oneiric style, and it's also what gives "La Strada" it's emotional impact, which has to be weighed symbolically not literally. "Sombre" in many ways follows suit, but with more neo-Gothic, and new french extremist aesthetics.

"Sombre" is a difficult film, one which even the most willing to attempt to understand it, will not enjoy the first, second, or maybe any times watching it. I can't say I enjoyed it. I'm not gonna put this on during rainy day like "Slim Sussie" or "Monster Squad", but if I had a friend over who told me they were in the mood for a horror movie, something actually scary (a rarity) I would suggest this.

"...if my eyes don't deceive me, There's something going wrong around here..." -Joe Jackson

I saw this film at the Rotterdam Film Festival. The response to this film was divided. Some people applauded, others left the theater before the movie ended. It definitely was a film that hit me. The roughness of the cuts, sounds and lighting, in combination with very few dialogues and conversations, brings about an eerie atmosphere. This is not exactly the peaceful and jolly French countryside as shown in the average travel magazine one would take a glance at! Grandieux makes it look like a hideous, dark place, which (to my mind) suggest the acts of the main character are in some way influenced by that atmosphere. The strongest point of this movie, is the absence of any moral content. ´Why´ is not a question that Grandieux has tried to bring across to the viewers. It is precisely this lack of moral content that frightens some spectators. I can imagine that. However, they cannot deny that it is a very original film. In spite of the fact that the ´serial murderer theme´ can be found in many movies, the approach to this theme is completely different in this film. This is definitely a film which I will remember! I think people will either love it or hate it -I suppose the majority of people will be ´haters´-, actually I am surprised it made some Dutch cinemas. I recommend this film to anyone who likes original, non conventional movies. Give it a try. If you hate it: a VCR has an eject button.

There are films that have a very difficult and challenging topic, that may also be very explicit. There are films that are shot in a way that makes them difficult to watch; very quick cuts; rapid camera movement; odd direction. There are films that have a compelling story-line.

This film is all of those.

To begin with, you may be forgiven for thinking that the cinematography methods used here are just to make it look 'arty'. However, as it progresses, I think the extremely dark, edgy, and confused imagery is a reflection of the state of Marc Barbé's mind; closed, confused, searching; helpless. The almost total lack of dialogue adds to the tension, as you are pulled along to an astonishing climax that will leave you thinking.

Whilst you are watching it not everything makes sense, however, in the days that follow, you will find yourself revisiting scenes in you head, wondering what they meant, working some of them out.

Sombre is a very difficult film to watch. It will affect you. You will think about it afterwards. To me, this is what films are all about. What you get out of this film is directly proportional to the amount you put in.