Richard, a wealthy businessman, and Jen, his young, candy arm mistress, helicopter in onto Richard’s desert retreat house. While his wife and children are at home, Richard plans to spend his time away relishing a pleasurable weekend that involves relaxing by the outdoor firepit, swimming in the infinity pool, being sultry with Jen, and do a bit of hunting along the mountains, canyons, and riverbeds. When Richard’s associates, Stan and Dimitri, arrive a day early, a party filled night rapidly ensues, but events turn sour when Jen is brutally attacked the next day and Richard plans to snuff out the scandal before it unravels to ruin him. Unwilling to cooperate with a coverup, Jen is nearly murdered by her three attackers only to arise like the rebirth of the Phoenix, igniting a vengeful fire inside her as she uses everything she has at her disposal to finish what they started.
In a day and age when the slightest bit of a woman’s attention can explode into a vile reaction of testosterone warped misguidance and it’s the woman who is shamed as the accosted criminal being barked at aggressively by the unequivocal fearful and condemning voices of the male species, it’s movies like Coralie Fargeat’s action-packed “Revenge” that symbolizes woman’s resiliencies against men’s efforts in a show of violent force that’s “First Blood” without John Rambo, but rather with a scorned princess for retributive capital justice. “Revenge” is the French filmmaker’s first full-length penned and directed feature film that’s one gritty and bloody grindhouse vindictive sonovabitch, a pure punch to the throat, and a direct message to misogyny everywhere. Filmed in the Morocco desert during Winter, the small cast is swallowed by the vastly arid landscape of transfixing cruelty, a synonymous parallel to the feat the heroine Jen is drawn to task. It’s also a feat that Fargeat managed to salvage to finally release a rape-revenge thriller backed by a conglomerate of production firms and financiers to stand with a film from a first time director whose treatment offers up maltreatment of women, such as the rape, along with the savagery, the concept of revenge, and ridiculous amounts of blood. M.E.S. Productions, Monkey Pack Films, Charades, Logical Pictures, Nextas Factory and Umedia are just to name a few of the production companies to be supporting capital.
With a role embodying the symbolic brutalization of physical and mental rape, a role of complete loneliness in a fatal skirmish against their attackers, and in a role forsaken in the face of death only to be reborn from the ashes of their former self, Matilda Lutz’s fully charged capacity to tackle such a demanding performance is beyond praiseworthy, scrapping the timid traits from Jen’s ravaged glossy persona and replacing with a rigid exterior ready and willing to combat to the death. The Italian born Lutz has to go through a metamorphosis and refashion Jen to be able to differentiate from her more bubbly first half self as the easy kill or the disposable male plaything. In a twisted turn of events, Jen’s mortal adversaries have every advantage to douse out Jen’s existence: gear, guns, vehicles, clothes, water, fuel, numbers, etc. Yet, despite all the advantages, the desert, much like Jen, is unforgiving as it is bare. Richard (Kevin Janssens), Stan (Vincent Colombe), and Guillaume Bouchede (Dimitri) exude the utmost confidence their grip around Jen’s throat. Janssens’ fortifies as the rigorous cutthroat, a misogynistic philanderer, determined to save his own skin no matter the cost while Colombe’s Stan is a retracting coward with regretful impulses. Colombe’s brings the comedy to a grimly tale and positions Stan to be the teetering villain tarnished by his guilt of nearly killing Jen, but never apologizes to being the catalytic rapist that initiates the whole debacle. Bouchede supplements with his divestment to charm as the overweight, do-nothing witness to save Jen from Stan’s seizing urges. As Dimitri, Bouchede stalls his typical niceties to be the silent violator who can open up the flood gates of aggression when transgression warrants it.
“Revenge” has an ultra-violent and super-synth finish chapping with multiple motifs of a rebirth theme and supplies a hefty bloodletting of incorporeal measures. Knocking it out of the park in her first feature film, Fargeat’s cauterizes the unnerving serious tone with alleviated black comedy of the bloodiest kind. The roundabout endgame chase comes to mind, involving a frazzled Jen and a wounded, but indomitable Richard in a merry-go-round of a shotgun standoff is some of the best editing work of fast and ferocious content I’ve seen in some time while still able to vitalize a transparent sense of what’s occurring. However, not all the slick editing is flawless. Some minor inconsistencies in the editing are noticeable and while these moments of lapse are not detrimental or pivotal to the story, they reflect Fargeat’s challenges of making a hyper-stylized action-thriller in her freshman full-length feature. In a sense, everything Fargeat’s deploys positions “Revenge” into a surreal tonality, glamorized for those thirsty for blood gushing in a canyon-vast desert bristled with rape and payback where a mere four players in this ebb and flow game of killer combat chess can effortlessly locate each other, but one can always find their prey by following their blood trail, another motif that continues to pop up that speaks metaphors of their life blood is the very object gives them away in the end.
Giving the limited edition treatment that it deserves, Second Sight Films’s Blu-ray release of “Revenge” is a mouthwatering narcotic of raging cathexis and while the Blu-ray BD-R can’t be technically critiqued, the LE release offers HD 1080p transfer of the original, 2.39:1 aspect ratio and sports an English language DTS-HD Master Audio 5.1 mix. While Fargeat might be inspired by Lynchian themes, the cinematography work by Robrecht Heyvaert also resembles “Pitch Black” director David Twohy’s films with making something small larger than life and a particular chase scene involving all four characters at the edge of a canyon stroke a familiar chord with Twohy’s “A Perfect Getaway.” There were Second Sight Films’ exclusive bonus features included on the disc, featuring new interviews with director Carolie Fargeat and star Matilda Lutz (entitled “Out for Blood”) an interview with Dimitri actor Guillaume Bouchede (entitled “The Coward”), a interview with Robrecht Heyvaert (entitled “Fairy Tale Violence”), a new interview with composer Robin Coudert and the synth sounds of “Revenge,” and a new audio commentary by Kat Ellinger, author and editor of Diabolique. The release is sheathed inside a rigid slipcase featuring new artwork by Adam Stothard as well as a poster and a new soft cover book with new writings by Mary Beth McAndrews and Elena Lazic Overall, “Revenge” received a monster packaged release ready for the taking on May 11th. “Revenge” destroys toxic masculinity and breathes a vindictive hope from the fiery embers of rebirth and destruction.
Tan and Javid go on a killing spree in anarchy-riddled Germany after their families were killed in a house fire in which emergency services were purposefully withheld. After slaying bystanders at a diner, they happen upon a script in a stolen car; the script reads line-by-line, word-for-word on everything the two men say and do. Simultaneously, the wealthy Eliana is hunting them down, seeking revenge for the death of her parents by collaborating with her parents’ former bodyguard to hire cold-blooded serial killers to kill the men. As Tan and Javid try desperately to not follow script, the two men seemingly can’t avoid their fate along with circumventing a variety of dangerous people crossing their path. Only a couple of people from the script can possibly save them, an Angel named Snowflake, and, possibly, the screenwriter himself.
Adolfo Kolmerer’s “Snowflake” has maybe little-to-no relevance to the derogatory term commonly used by right-winged conservatives when describing the assumed liberal millennial with a heightened sense of uniqueness and having a knack of being overly offended by, well basically, everything. Kolmerer’s “Snowflake” also has no correlation with the concept of winter, snow, or even Christmas. So, the question is, what the hell is “Snowflake” about? The 2017 shocker, also known originally as Schneeflockchen in the German language, is as cold and as unique as any snowflake mother nature can cruelly reign upon down a person and methodically compounds the series of gritty events, from two sets of characters, through a head-bearing funnel that’s supernaturally poised and brutally executed. From writer Arend Remmers, the script itself is smartly constructed as a narrative character, woven to become a pivotal motivator that not only churns out characters’ supposedly ill-fated destinies, but also a metaphysically, arch-able player in the grand scheme of gruesome revenge and absolute atonement that within the bookend pages of the treatment has unorthodox religious themes and a radical, almost anti-hero like quality of rising against the powers of racially insensitive autocratic and populist agendas. The film’s location of Berlin isn’t the only thing that’s anarchical driven as Kolmere and Remmers bends cinema conventional rules to enthrall one punch to the gut movie.
Erkan Acar and Reza Brojerdi play the brothers in arms, Tan and Javid. As they venture on nihilistically slaughtering quest to come face-to-face with their maker, Tan and Javid have nothing more to lose and Acar and Brojerdi depict themselves in that predicament while maintaining their characters’ seamless, longtime friendship, like watching two sets of personalities move as a single unit. Tan and Javid are hunted down by another character seeking vengeance for her parents are the wrong place, at the wrong time. Eliana has money, status, and all that she could ever want, but when she befriends her family’s bodyguard who is then let go from the position, she loses sight of the meaning of uncoupled protection in Berlin’s anarchy state and also loses sight of what’s truly important to her – her folks. When they’re slaughtered, Eliana, played by Xenia Assenza, is hellbent on exacting retribution. Assenza clearly proceeds with a cold, drafty personality for Eliana with unrelenting ambition. The character is scribed as ultimately over flawed if not even expressly obvious and Assenza does a fine job bubbling those flaws ever so delicately to the surface in every loss Eliana sustains. Tan, Javid, and Eliana have a very grounded reality about them when contrasted with other characters such as the superhero-esque Hyper Electro Man (Mathis Landwehr) with the steampunk power backpack of electrical power, a blind man named Fumo (Eskindir Tesfay) with fits of fury, and a madman named Caleb (“Braveheart’s” David Gant) who could very possibly be God himself. Electrifying, mysterious, and powerful can be their only descriptive adjectives that steer “Snowflake” into the graphic novel universe. David Masterson (“German Angst”), Gedeon Burkhard (“Inglourious Basterds”), Selam Tadese, Adrian Topol, Judith Hoersch, Alexander Shubert, and Antonio Wannek, Bruno Eyron, Martin Gores, Mehmek Kurtulus round out this amazing, eclectic cast.
On a single read through of the synopsis on the Artsploitation’s Blu-ray back cover, trying to process the quickly summed up tale might also quickly scorch and burn off invaluable brain cells, but “Snowflake” has an immensely alluring nature once reviewed on a second read. Might not be a tearjerking romantic comedy and can be stupendously offensive with hints of barbarism, but the fantasy element, infused with Western composition at times, is stone strong with this film that’s more than just a Tarantino or Coen brothers’ akin film as the summary impresses to potential viewers. I’d toss in their some steampunk aspects of early Terry Gilliam or the delicate fable-isms of Marc Forster. It’s also a little razor blunt like Takashi Miike and perhaps could have surrealistically lobotomized and strenuous dreamlike sequences that speak to the likes of David Lynch, in choice scenes. Adolfo Kolmerer can be considered an equivalent to not one, but all of these visual icons and mega storytelling filmmakers.
Truly unique like an ice crystal falling from the winter sky, “Snowflake” falls onto Blu-ray home video courtesy of Artsploitation Films. Presented in 1080 and in a widescreen format, “Snowflake” vividly impresses with a broad color palette and a sleek, crisp digital picture. Hyper Electro Man has vibrant electrical currents snaking around his body and arms that aren’t just blurry blobs, but maintain two-tones of color and depth. Various decrepit buildings have the details pop out to bring an anarchy German to life. The German-English-Polish Dolby Digital 5.1 audio track has range, balance, and fortitude with a clarity and prominence in all spoken dialects. English subtitles are available. Bonus features included a behind-the-scenes look at “Snowflake” that clocks in just under a hour and trailers of other Artsploitation films. “Snowflake” has an original frame that’s built to sustain the broken westernized violence and is tightly glued together with likable berserk characters and an engaging labyrinthine story that ultimately feels genuine, versatile, and thematically relevant in, nearly, a not-so-abstract vision.
Twenty-one year old Eve has been chained to a basement structure of a desolate house in the desert. She turns the tables on Phil, her sexual predator, by clocking him hard with a stone brick and escaping his hellish domain, until she realizes, through Phil’s pictorial archive, that he has more girls in similar captivity. Driven by guilt over her sister’s own demise at the hands of their captor, Eve sets forth a nonstop mission to release girls no matter the cost even if that means bringing her injured rapist along for the ride. As they stop from location to location, not all the victims are as calm and collected as Eve and her predator isn’t the only dangerous one in this particular sex trafficking ring.
“Bound to Vengeance,” also known under the working title “Reversal,” would naturally seem from first glance reading the title as a rape-revenge exploitation film by José Manuel Cravioto, except the story begins in the basement with Eve’s escape. Cravioto’s film fast forwards past the pre-show character story development, the terrifying abduction, and the uncomfortable rape scenes or sequences. Instead, the story bee lines straight toward the revenge act, raising Eve out of the ashes like a worn torn Phoenix and obtaining the upper hand on Phil. From there, only sporadic interjections of her prior abduction are revealed through video tape footage of her and her boyfriend. Even without displaying all the horrible things that have happened to Eve, a successfully conveyed cognizance of her strife goes without saying, or in this case, showcasing because the Rock Shaink Jr. and the late Keith Kjornes, whom I remember from his first penned wacky work in “Repligator,” cover Phil’s monstrous and unquenchable sexual rampage through the scared and scarred eyes of all the victims Eve intends on liberating and from Phil’s spew of lies from his own snake forked tongue.
Dark Factory Entertainment, for a company as a whole, is as small as a guppy when compared to bigger, badder fish in the ocean; however, “Bound to Vengeance” is like a piranha, a flyspeck river fish with a vicious bite. I’m also impressed to see “Kindergarten Cop” star Richard Tyson presenting a delightfully decadent performance in his character Phil, whose a mid-40’s man living a double life, living the American dream with a beautiful wife, innocent young child, and living in a grand house while a darker, hidden side revels in an oversight role in the world of sex slavery. Phil represents the very definition of a very real evil inside our society and Tyson, through that slightly raspy and baritone voice of his, brings out the character’s warranted ugliness. Tyson opposites Stephanie Charles, saddling into the empowering female role Eve, and Charles meets the veteran Tyson eye-for-eye on all their scenes together, never once sensing a performance recession.
The rape-revenge flick, minus the rape, concentrates, just outside the surface, around the sex slavery ring. In fact, the insightful story is quite educational and informative, sectoring separate pieces of the sex trafficking ring from a simple abduction, restraint, and rape to a criminal empire consisting of various locations and various hands in this particular ring. Victims also go through stages of stockholm syndrome, such as with one of the girls Eve attempts to free, but she’s too far gone under the influence of Phil and his forceful philandering friends. And for a film that’s about sex trafficking, sex has nearly been omitted from the entirety with only some disheveled and scanty covered women, some with BDS&M outfits. Criavioto’s suspense thriller breaks the narrative barriers without being, story suggestively, sexually explicit and gratuitous.
The High Fliers distributed DVD and Dark Factory Entertainment production is a win-win for both companies where dynamic actors and sexually charged subject matter thoroughly straps you forcibly in the passenger seat and causes a five-finger death grip on the oh-shit handle bar. Prepare to have your eye balls glued to screen and your jaw drop when each scene becomes more intense than the other, from girl-to-girl, to house-to-house. Gravitate to this release as soon as possible as I swear disappointment will be far, far away from any reaction bestowed upon this Cravioto film.