The flesh-eating movie that had them requiring ambulance intervention in Toronto never lets up. It’s also a complex drama of adulthood, sex, conformity, hazing, body image and lust
Julia Ducournau is a 33-year-old first-time feature director who makes her worryingly brilliant debut with this saturnalia of arthouse horror. At the Toronto film festival, it had audiences dry-heaving and indeed wet-heaving in the aisles and the cinema lavatories. This is the sort of film which pundits are often keen to label “black comedy” as a way of re-establishing their own sang-froid. In the same tongue-in-cheek spirit, it has been called coming-of-age drama. There is a grain of truth in both of these labels. It is a film about cannibalism, and has clearly been influenced by Jorge Michel Grau’s We Are What We Are, John Fawcett’s Ginger Snaps, and perhaps especially Marina de Van’s body shocker In My...
Julia Ducournau is a 33-year-old first-time feature director who makes her worryingly brilliant debut with this saturnalia of arthouse horror. At the Toronto film festival, it had audiences dry-heaving and indeed wet-heaving in the aisles and the cinema lavatories. This is the sort of film which pundits are often keen to label “black comedy” as a way of re-establishing their own sang-froid. In the same tongue-in-cheek spirit, it has been called coming-of-age drama. There is a grain of truth in both of these labels. It is a film about cannibalism, and has clearly been influenced by Jorge Michel Grau’s We Are What We Are, John Fawcett’s Ginger Snaps, and perhaps especially Marina de Van’s body shocker In My...
- 9/21/2016
- by Peter Bradshaw
- The Guardian - Film News
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