Pondering Jean-Christophe Meurisse’s Bloody Oranges kindled a somewhat unexpected association in my mind. The opening minutes, and the following deviation from the tone they set, made me think of Drew Goddard’s The Cabin in the Woods. A strange comparison indeed, but not entirely unfounded. Both introductory sequences defy the expectations about the respective features - that of a disturbing dark comedy and a run-of-the-mill slasher. In both cases, prolonged and talky openings act as preludes to mayhem. You would certainly be reading a more elaborate analogy were Bloody Oranges as subversive and effortlessly witty as Goddard’s debut.
Meurisse's film assumes a fragmented format, following, among others, a pair of seniors (Lorella Cravotta and Olivier Saladin) hoping to counter their debts by winning a dancing contest, an insecure lawyer who happens to be their son (Alexandre Steiger), a teenager readying herself to lose her virginity (Lilith Grasmug), a corrupt finance secretary (Christophe.
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Meurisse's film assumes a fragmented format, following, among others, a pair of seniors (Lorella Cravotta and Olivier Saladin) hoping to counter their debts by winning a dancing contest, an insecure lawyer who happens to be their son (Alexandre Steiger), a teenager readying herself to lose her virginity (Lilith Grasmug), a corrupt finance secretary (Christophe.
