Un couteau dans le cœur

Sitges Film Festival Review

Story, Setting, Characters, Mood etc. are all pretty cool on paper. I think the pure script of the movie is pretty awesome. Sadly the version shown at the Sitges Film Festival did not manage to put these elements together as one flowing film. It felt unfinished in many aspects. The heart is at the very right place. But the execution did not do it justice.

This was a film that one of my buddies from social media told me about. It was already on my radar a new film to check out from this year, but his high praise made me move it up my 'To See List'. Also one of my favorite podcasters really seemed to enjoy it as well. This is actually a neo-giallo film that comes from France and Mexico. I know for purists, that makes this not a gialli, but after seeing this, it most definitely is. The synopsis is Paris, summer 1979. Anne (Vanessa Paradis) is a producer of cheap gay porn. When Lois (Kate Moran), her editor and companion leaves her, she attempts to get her back by making a more ambitious film with the flamboyant Archibald (Nicolas Maury).

Now I should lead off stating that this is definitely an arthouse film. We start with intercutting Loïs as she is editing the latest dallies for a film. This is being seen with the star of that film, Karl (Bastien Waultier), inside of a gay, fetish bar. As he's dancing with some men, he looks across the room at someone in a leather mask. This person leaves and Karl follows. The two go home together, where Karl is tied up. He's then killed as the masked person stabs him with a dildo that is actually concealing a knife.

Later that night, Anne calls Loïs and we learn the two were lovers, but they're broken up. Anne wants her back, but Loïs can't do it. This upsets her and she is hung on up. We get that Anne has a bit of a drinking problem and she's highly emotional.

Anne comes to work the next day where we see Archibald directing an adult film with Thierry (Félix Maritaud) and two other actors. Anne goes upstairs were she sees spies on Loïs while she works.

Things take a turn when the police call to inform them of the death of Karl. This though gives Anne an idea for her next movie. Things take a dark turn though, as more of her actors are killed by this masked man. The film that she is making is mimicking the crimes around her and she even has Archibald playing as her. To star in it, she finds Nans (Khaled Alouach) who looks similar to the star of the film we saw earlier, Fouad. He at first declines, but the money is a bit too good. The crew has to decide though to continue to work and put their lives at risk. Anne only seems interesting in getting Loïs back though. Anne tries to find out who the killer is behind it is too late.

Now I'm glad I finally got to see this movie, because there's a lot to unfold here. The first thing I want to dive into is the time period this is set. I think that is quite interesting having this be at the tail end of the 1970's, which was really a time for free love. I'm of course looking at this as an American, where we are quite prudish. I think the time period is quite important for my next point though.

That would be homosexuality. Anne and Loïs was a couple that is now broken up. Anne is the director for gay porn with Loïs as the editor. All of the actors we see at first are homosexuals as well. What is interesting is that Nans is straight, but the money is too good for him to not be a part of this film to the point where Anne offers him his weekly salary for just a couple of days of work. This film really does do well at celebrating that there's nothing wrong with this and I dig that. There's a dark side to it as well though.

This brings to me to the point that the killer is knocking off the actors for this company. What is interesting about this though is the actual reason the killer is killing them. At the time of the reveal, it is believed that the killer is doing this because of these people's sexual orientation. We as viewers know though are given a bit more than that. Anne does the normal giallo troupe to explain everything that has happened and it actually makes the killer seem tragic. My buddy said this in his recommendation and it is completely right. I don't want to spoil this, so you will have to listen to my podcast where I will delve into this a bit more.

Since I've already shifted over into this, we do get that troupe of the over explaining to ensure we as the audience know what we just saw. We also get a great looking killer. They wear a black, leather mask and have similar gloves. They use a knife for all of the killings as well. We even get that Anne is having dreams that lead us to the truth. What is interesting about this, she is taking her dreams to make her movie and when she's told to follow what they're telling her, that is how we explain who and why the killer is doing what he's doing. I really dug this and I have to admit, I didn't predict the killer which is something that I grade on these types of films.

That will take me to the pacing here. I do think that his runs a tad bit long. It comes in around 105 minutes. I don't want to say I got bored here, because I think everything that we see was needed. We get introduced to our characters and that first death within the opening 10 minutes. From there we build the tension as things go down. It keeps with the giallo sub-genre with Anne, not being a cop, being the one to solve what is going on here. I thought we got the kills at a good interval, ramping up that tension to a satisfying conclusion in a movie theater. As I said, I didn't predict the killer so I did enjoy that as well.

As for the acting, I thought that it was good across the board. Paradis I thought was solid as the lead here. We see that she is unstable and has a drinking problem throughout. I unfortunately connected with her in that I've had an ex-girlfriend break up with me and I've done everything that I can to get her back. We don't really get a lot of growth from her aside from the ending is trying to say she is at peace with everything, at least that's how I interpreted it. Maury I thought was solid in his performance. Same goes for Moran, Jonathan Genet, Maritaud, Alouach and the rest of the cast were all solid.

The effects were really good as well. I thought the weapon was a bit much, but it actually fits so well with this film and the motif of homosexuality. What I also like is that it keeps men and women on the table as possible killers. The blood we get looks good and the wounds do as well. We get a few of them so that is solid as well. I also think that Gonzalez shot the hell out of this film. It looks beautiful. I like that the dream sequences are inverted in color. This hides certain things from us as the audience while still giving us a bit of the back-story. The film that Anne is shooting also has an odd dreamlike feel to it. The cinematography here is definitely on point.

That takes me to the last thing to cover which is the soundtrack. I think that M83 did a solid job. It gives that feel that we're back in the 70's, especially in the club scenes. There does seem to be long stretches where there isn't a score, but that does work in building tension. I don't think this will be a soundtrack I will listen to often. I do think that it works for what they needed here for sure.

Now with that said, I'm so glad I didn't sleep on this film any longer. I think that this is a beautiful looking neo-giallo film that's not from Italy. It has a taboo subject that is socially relevant now and placing it back into the time period they did definitely works. The acting is solid across the board with Paradis really doing a great job as our lead. She's such a broken character in is helped to put it back together with this tragedy around her. I think the look of the killer is great, the kills are pretty solid and I think that it is mystery that I didn't find predictable. The soundtrack fits for what was needed and I really dug this overall. I will say that if you have issues with homosexuality, I don't think you will enjoy this, as we get to see a lot of it on screen and that is the crux of the story. If you're an adult and enjoy films with an arthouse flair, give this a viewing especially giallo fans.

After a series of strange murders, a film director trying to finish her most recent gay porn realizes that the incidents are centered on the cast of one of her films by a masked maniac intent on seeking retribution for a past film mocking a debilitating incident he suffered and tries to stop him.

There was a lot to like with this one overall. Among the most likable factors here is the generally impressive setup that manages to work a highly effective old-school atmosphere into the universe of sleaze and depravity featured here. As there's a generally fun vibe during the film shoots that take place, whether it's the early threesome choreographed by her friend, the police station interview mock-up, or the arthouse-style recreation of the murder scene, that all combine to set up the confines of the studio system she's working within at the same time as the killer begins striking the performers of her crew. The recruitment of new performers to fill out the roles of those who are being killed off goes along rather nicely with the discovery of the origin story at play tying everything together. As well, there's also a lot of fun here with the enjoyably decadent and erotically-tinged kill scenes at play throughout here. Being fueled by the atmosphere at play here with the killer preying on victims by employing sexuality to his advantage just as freely as the performers do in their scenes with a highly-engrossing arthouse sensibility to its technical prowess, this one comes across as a rather slick and stylish effort. With some effective suspense in the opening ambush in the nightclub with the actual attack taking place in the bedroom, appearing to a drugged-out victim in the car, or the dizzying sequence in the forest during the rainstorm, the attacks in this one are quite brutal and enjoyable that are a part of this one's likability. The other good part here that has a lot to like is the overall giallo-styled format that's in play. The whole concept of the creative crew being targeted by the strange masked killer that fuels an investigation into their identity after getting nowhere with the authorities is a classic genre trope employed to good effect here. After the series of murders targeting people in her company, that she's forced to play amateur detective and investigate who's responsible for the deaths leads her to the small-town kid who died and set everything in motion with the events that angered him being replicated in her films is a setup in the style. This gives off a rather fun setup that goes alongside the rather impressive technicalities and extravagant lighting featured throughout to give this an enjoyable enough series of positives. There are a few minor drawbacks that emerge here. The main issue here is the decidedly non-giallo setup that gives away the killer's identity rather than focusing on investigating who it actually is. Instead of looking into the potential suspects since this never provides any and then discovering who they are at the very, this just flat-out says who it is and then features a confrontation with the identified figure so there's little suspense about who it is that goes against the genre's setup. There's also a lot to dislike with that final confrontation which is pretty underwhelming rather than cathartic and ends the film on a slightly sour note. It's the features that end up holding this one back.

Rated Unrated/R: Graphic Language, Graphic Violence, strong sexual references, Nudity, and drug use.

I have a sick sense of humor.

So it wasn't a surprise that during most of the run time for "Heart + Knife" I was laughing my-ass off. The scenario was ridiculous, but I found a lot to relate to here as a gay man, and as a B-Movie, Giallo and cheesy gay art porn lover.

This is good camp. Like an absurd mash up of early Pedro Almodovar, James Bigod, John Waters and Gregg Araki with a little Clair Denis drama for good measure.

For me, it worked. And is one of the better queer films I've seen in a while. It's refreshingly shameless and at times very funny. You wouldn't see a film like this made in the US nowadays!

Actor Nicolas Maury was a standout for me, playing the assistant to troubled porno directress Vanessa Paradis. Every time he appeared he was reliable for a good laugh, especially during the film within a film porno scenes.

So yeah, this isn't heady stuff. It's fromage.

The kind of film that goes well with wine, weed and an open mind. Film snobs and conservatives should leave their badges at the door.

Imagine "Stranger By the Lake" directed by Dario Argento or better still, Claire Denis and you're about a quarter of the way there. "Knife+Heart" is a deliciously giddy piece of gay giallo, partly "Cruising", partly "Dressed to Kill" and yet feeling totally original. Anne, (an excellent Vanessa Paradis), is a producer of gay male porn whose actors suddenly keep getting murdered in particularly nasty ways. Rather than initially shedding tears, Anne turns the killings into a movie she calls 'Homocidal'.



Naturally it's gruesome but it's also as stylish and as gorgeous as anything DePalma might have done and director Yann Gonzalez is bold enough to take the clichés of the genre, (thunderstorms, a black crow to herald the murders), and turn them on their head; you are never quite sure which way he's heading. Even the sexual make-up of his characters is never clearly defined. This is a really smart take on a genre we thought we knew inside out; once upon a time we would have called it 'post-modern' but don't let that put you off. It's set in 1979 and fans of giallo from that period will find much to enjoy here just as anyone interested in New Queer Cinema will also find much to relish...oh, and don't leave until the very last image leaves the screen