Chrysalis

This one of the bluest movies I've ever seen. You thought "Sleepy Hollow" was blue? You thought Soderbergh's "Solaris" was blue? Well hang on to your bonnet because this movie makes them look like "The Wizard of Oz". If you're looking for a blue movie then look no further than "Chrysalis".

Set in a tense future, Paris in the year 2025, this film is very stylish and gritty. The director sought to create a future vision that's not quite dystopian yet definitely not full of rainbows & unicorns. It is a very claustrophobic, psychological story that progresses on 2 levels. The first level is the straightforward action/thriller/scifi part: a rogue Paris cop is hunting down the killer who ruined his life. The 2nd level is a very human (yet equally tense) story about a woman who is reconnecting with her daughter after a terrible accident which caused the girl to have amnesia. Confounding at first, it is interesting to see how these two seemingly distant stories come together.

A well-written story and good script give all the actors a chance to shine as each plays the role of a deeply complex character. We have the main hero, a tough guy of few words, who is coming to grips with his ruined life as well as the realization of what a monster he has become. His female partner is a rookie, entering the story as a naïve kid who got the job only because her uncle is a big honcho, but ultimately she develops a forceful personality of her own. The mother in the 2nd story is very cryptic, and you don't know what drives her, or if she's a good person or bad person, until the end. And the daughter whose confused & innocent portrayal of a person struggling to regain her identity had me riveted in every scene.

So, yes, you could approach this as a straightforward scifi-action-crime-thriller, or you could also see it as a story of people finding--or rather, choosing--whom they want to be. And there you have it, all wrapped up in a nice, stylish ribbon. A blue ribbon of course.

All connoisseurs and other snobs know that between 1960 and 1980 French cinema was miles ahead of Hollywood. Directors like Melville knew that they could not compete on special effects etcetera because of the smaller budgets. They took the only possible course: do what Hollywood doesn't dare to do. Chrysalis breaks the Hollywood conventions as well and still stands firm in the French tradition. The pale colours remind us of classics like Le Samourai; the Hoffmann character could have been played by Alain Delon in his heydays. Dialogues are minimalistic and therefor highly effective. The two story lines first are independent and gradually merge. Montage between the two is brilliant; every scene makes you longing for the next one. Only halfway the meaning of the opening scene is partly revealed; only near the end you will understand it fully. So some patience and a bigger attention span than average is demanded - and rewarded. The movie has two weak points. First of all there is the plot. Probably I am not fair, but I find it hard to accept the plots of Robocop and Terminator as well. Never will movies like that get more than 8 stars. Second I find the Hoffmann character not that convincing anymore after his "accident". Don't take my criticism too hard. Deviating from the Hollywood norm involves risks so should be praised. Chrysalis is highly entertaining and intriguing, unless you prefer the standard, brainless and predictable stuff. And never I have seen such cold scenery.

I have seen at a week distance two films describing Paris in the 2020s - 'La Jetee' by Chris Marker and 'Chrysalis'. They were made at more than four decades distance in time, and yet they have many similar lines bringing up troubling visions of the future of the vary familiar and warm city that is Paris.

Same as 'La Jetee', 'Chrysalis' is a very stylish film, with striking visuals. All is filmed in blue metallic light, which creates a artificial, cold, robotic atmosphere for a sci-fi and cop story which is a combination of some older (tough cop with young female partner as in 'Dernier domicile connu') and newer themes (mind control, human traffic). The principal problem is that the story is confusing, and even when the two parallel threads converged not all the details come clear.

Some good acting (especially Albert Dupontel in the lead role) and well filmed fights choreography cannot save the film, which remains a too dry exercise, with too much style and too little substance, and failing to create emotion.

Julien Leclercq.....how do I buy a copy of this wonderful film on DVD in the USA??? I saw your film, Chrysalis, at AFI/Dallas. I admire it tremendously for so many aspects of the work. I am a novice film maker and wish to study all that you have incorporated into the creation of this project. It is clearly a construction of what you appreciate so much about American style action films. But you have achieved all this and even more in this effort. And so very nicely hidden is this process, so as not to be too obvious. Beautiful, stylized, intriguing, gripping. The characters are fully developed and acted to a fine manner. Oh, but for a better ending...Chrysalis would be an instant cult classic and must have for all lovers of this genre, as well as many others. I would give it: A+ Directing, A+ Cinematography, A Ensemble Acting, A Sound Design, A+ Editing, C+ Script, (but only for the ending). In all I would hope to accomplish but a very small fraction of what you have created in this fine and marvelous effort. Most respectful congratulations to you. I will look forward to seeing many more Julien Leclercq films to come. (If I am to be allowed to buy them in the USA!) Regrds, JB

There are many ingredients of the cyberpunk genre in this film, which is why I was looking forward to see it. Unfortunately, it is a weird mix and while Leclerq obviously has a flair for aesthetics, he would have been better off letting someone else write the script.

Albert Dupontel, better known as an actor and director of comedies, continues his recent transition to more "heroic" roles. Here, he has amazing presence and physicality playing David Hoffmann, a hard-nosed cop. Unfortunately, the script is so bad, the direction so poor, that sometimes you just can't believe his lines or behavior.

His character is not the only one lacking development and substance. Everyone surrounding him looks even more like a walking cliché. Marie Guillard lacks credibility as Becker, Hoffman's pretty rookie partner. Veteran actor Marthe Keller plays a doctor with an agenda and recites her uninspiring lines without conviction. Alain Figlarz is intensely physical as the movie's main goon but as a villain, again the script doesn't sell him very well. There are many other characters we equally do not care about. Apparently, in the future, every woman in the police department will be a pretty girl who looks unfit for the job.

So, if the plot is terrible, the characters uninteresting and their lines ridiculous, why exactly does it deserve a 5 rating? Well for one, there are martial arts scene in the pure tradition of Bourne. the context in which they happen is silly but their execution is actually flawless and they are pulse-pounding. Kudos to Dupontel here. He delivers big. The rendition of a Paris in the not-so-distant future is also beautiful. It's mostly interiors (few outside shots) but you do get a nice feel of what could realistically be the future. It's extremely stylish and European. Speaking of which, the photography here is very good.

What you're left with is a movie that combines elements of techno-thriller, noir and sci-fi and takes itself very seriously. Unfortunately, it's not done well enough. When your scenario lacks credibility, a good way to save it is by injecting something else. Irony, humor or romance. But Chrysalis never does that. And the action is sparse enough that we notice it's flaws.

I hope Leclerq will pursue his career but I'd rather he directs and let someone write.