L'infanzia di un capo

Greetings again from the darkness. Brady Corbet has established a pretty nice career as an actor (Melancholia, Funny Games), and along comes his feature film debut as a writer/director (co-written with Mona Fastvold). In this day of remakes and reboots, this one is anything but. The "Overture" sets the mood with video clips of the WWI aftermath and the explosive score from Scott Walker quickly establishes itself as a character unto itself.

Subsequent title cards are broken into three "Tantrums", as we witness the ever-escalating inappropriate behavior from young Prescott (Tom Sweet). In what on the surface could be classified as a nature vs nurture expose', the film leaves little doubt that Prescott is rebelling against the monotony of his environment and the disengaged parents to which he is tethered. However, it also seems evident that young Prescott is inherently "off". He seems to be cold and emotionally removed as he engages in battles of will with his parents … his father (Liam Cunningham) a US diplomat knee-deep in negotiations that will lead to the Treaty of Versailles, and his mother (Berenice Bejo), a self-described "citizen of the world".

Two obvious film comparisons would be The Omen (1976) and We Need to Talk About Kevin (2011). The ominous music and settings leave little doubt that we are headed somewhere very dark here, though it's not in the religious sense of The Omen and it's more global than the intimacy of 'Kevin'. Thinking of this as evil in the making would be a just description, though a different title might have held the ending a bit longer.

Support work is provided by Stacy Martin as the French teacher and Yolanda Moreau as the housekeeper who has moments of connection with the challenging Prescott, but Robert Pattison fans will be surprised at how little screen time he has – especially for dual roles.

Young Tom Sweet is fascinating to watch in a very tough role for a child actor, and director Corbet proves he is a filmmaker we should follow closely. His visual acumen is something special, and offsets a script that could have used a bit of polishing. The movie will probably prove divisive – either you will find it mesmerizing and creepy, or you simply won't connect at all. That's often the case with a creative and bold project.

A flawed but very promising directorial debut from Brady Corbet. The plot meanders a little, promising more than it ultimately manages to deliver. There are, though, plenty of great moments as the film unfolds and the increasingly oppressive atmosphere of isolation, alienation and menace intensifies. Scott Walker's soundtrack is gloriously weird and over the top, and is used to particularly powerful effect in the set piece sequences that open and close the film. The acting is uniformly excellent. Tom Sweet delivers a fine performance as The Boy, whose increasingly violent tantrums are a sign of grim things to come. This is an intelligent and subtle film. A very good debut, which falls just short of being great.

I like Liam Cunningham and Bérénice Bejo very much, and it is also necessary to say that cinematography and art direction are quite good in The Childhood of a Leader. However, all those qualities are not enough for delivering a good movie. It is definitely not. Not only because of its sluggish boring pace, with different events of varied interest that do not compose together a deep portrait. Perhaps, the very general idea is even worse than that. The script was supposedly adapted or inspired in a story by Sartre, which I have never read, and, then, I do not know if French thinker shared the filmmaker's sins. Anyway, the very idea that a fascist leader eventually follows his authoritarian steps due a permissive education and upper-class family dysfunctional relationship during his coming-of-age years is a bizarre, stupid and childish understanding. I could not understand if fictional Prescott - who director Brady Corbet clarified that was neitler Hitler nor Mussolini - became a Füher or duce in France, Hungary, the United States or anywhere else, and I believe that confusion is intentional, but I do know that fascism does not rise because there is an individual with Prescott's traits and that has been mistaken for a girl. Addressing psychologically fascism as consequence of a troubled mind of a leader is no more intelligent and mature than portraying Nazis as zombies, vampires os extraterrestrials, as mainsteam popcorn flicks often do. We know that Pattinson's character was anti-Islamic and anti-Semitic, but even his possible harmful personal influence over the kid does not appear in the film (differently from the boy's precocious sex drive towards Stacy Martin's character, for instance). Additionally, the general and widespread (not just circumscribed in the family's personal circle) jingoist and racist prejudice feeling in society - and the hatred for the humiliation of the Versailles Treaty - would have been focused on if it were a consistent film about Fascist genesis. To resume, the choice of a horror music score (composed by Scott Walker) does not contribute for acknowledging this movie's political seriousness either.

Wow. That was amazing.

The story revolves around a wealthy American (or citizens of the world, as The Mother calls them) family at the end of WW1 in France. The movie centers on the kid, Prescott. He's not a "normal" kid, I guess. He's been acting up ever since they moved to another town. He takes French lessons from the teacher, Ada (played excellently by Stacy Martin), which The Father disapproves of, because he can't speak the language himself and he feels The Father works for the American government, right under President Jimmy Carter, so he goes on a lost of work trips, and he doesn't really care about getting to know the people of the town as much as The Mother does.

At the beginning of the film the kid got caught throwing rocks at the church members ("A Sign of Thing to Come) and the movie just goes from there. The film is divided in chapter in a really cool way (First Tantrum, Second Tantrum etc.). The whole film is stylized really old school, e.g there's an overture at the beginning and etc. That brings me to the score, oh my god. The score is amazing, it's very unsettling. Quite possibly the best score I've heard this year, Knight of Cups is the only competition.

All of the performances are fantastic, especially Tom Sweet as Prescott, Bèrènice Bejo as The Mother and Stacy Martin as Ada, or The Teacher. Robert Pattinson is great too as a friend of the family and widower Charles, in the few scenes he shows up in.

I can't believe this is Brady Corbet's directorial debut, because the film is directed so well. I knew he's a great actor (Funny Games U.S.), I had no idea he could direct. I cannot wait for his next project because this is one of the better directed films I've seen in a while. Everything felt unsettlingly natural and real, the cinematography was fantastic and all the actors were great, even the kid. Or especially the kid.

Oh yeah, by the way, this is not a horror movie, it has some horror-ish and surreal (although it never goes full Eraserhead or Enemy) elements and it's very unsettling but it's not a horror movie. I think the horror-ish stuff lies in the things we don't see, or the things to come.

Oh, and no spoiler but the ending was so amazing, holy crap.

This is the third, possibly second, best movie I've seen so far this year and I'm hoping for Oscar buzz for this film at the end of the year, but it's not likely that will happen though.

9/10. It's excellent.

This is a brilliantly brave attempt to make a challenging and striking piece of art.

On that level it works. The opening credits and first 10 minutes are intense. The Scott Walker soundtrack really pulls you in and immediately makes you think this is no ordinary film. And for that I loved it.

The acting is absolutely superb. Not at any stage do you think they are actors. The boy, the mum and the tutor are the stand outs.

The cinematography is superb, particularly near the end with the camera circling a dome, beautifully simple.

The overall look and feel reminded me of The Duke Of Burgundy (One of my fav films of recent)

There's not a lot of love in this family, thats for sure. The film is rather dull and slow though. I did find myself snnozebusting.

The ending made no sense either. It wasn't until I chatted to the guys in the cinema that we sort of worked it out.

I really respect the director for making a film like this. Im looking forward to his next film. Lets just hope more interesting stuff happens.

If you liked the Witch, you'll love this.