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Frontier(s) [Blu-ray] [Import allemand]
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Description du produit
Description du produit
Während der Unruhen in den Pariser Banlieues verüben ein paar Kleinkriminelle einen Banküberfall, bei dem jedoch einer von ihnen getötet wird. Die Gang, zu der die schwangere Yasmina gehört, muss fliehen und verabredet sich in einem schäbigen Gasthaus im Niemandsland an der belgischen Grenze. Doch was sie dort erwartet, ist die Hölle auf Erden: Sie sind in die Fänge einer degenerierten Nazi-Familie geraten, die nur auf frisches Blut für das Ausleben ihrer wahnwitzigen Machtfantasien wartet. Als Yasimas Freunde auf unbeschreiblich brutale Weise gefoltert und getötet werden, erwacht jedoch ihr Mutterinstinkt, um sich und ihr ungeborenes Kind zu retten. Ein blutiger, gnadenloser Kampf ums Überleben beginnt!
Yasmine fa parte di un gruppo di malviventi di banlieu che tenta un colpo approfittando di disordini originati da motivi politici. Uno degli appartenenti viene ferito e il gruppo si divide. Finiscono però col finire tutti nelle grinfie di una 'famiglia' di psicopatici con tendenze naziste che si divertono a torturarli nei modi più efferati. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.Voir l'ensemble des Description du produit
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Commentaires client les plus utiles sur Amazon.com
I've done my best to give only the tiniest of spoilers here, just itty bitty hints of what goes on...
I think of Tobe Hooper as a sort of Thelonius Monk, jazzing it up in all sorts of ways nobody was expecting and dashing all kinds of expectations. So many elements of Leatherface and his family go unexplained, the pace of events shifts at all sorts of unconventional places, and it ends in a spot that almost feels like there should be a whole other act.
Whereas Gens is like this obsessive classical composer focused on using structure to his advantage. Not to spoil it, but the whole second half of this film is basically an escalation of adrenaline-filled, climactic moments so well planned an executed that it's almost impossible not to watch without getting an adrenaline rush.
Hooper dropped all sorts of cultural and even subtle political references into TCM, and just let them swim around like goldfish; Gens's F(s) has a political point about racism in France that he's hammering home from the very first moments of the film when Yasmina says her world is anything but fair and equitable and then we cut to a massive Paris riot in response to the election of a far-right-wing French President.
TCM was shot on the cheap, and the film-stock graininess gives it a natural and inimitable time-stamp as a work of the late 70s. Hooper and his people went to great lengths to spell out the madness of Leatherface clan in ever element of set dressing possible, throwing in details like the weird ornaments skewered on the barren branches of the trees outside the house, details for the curious viewer to puzzle over before the carnage begins.
F(s) on the other hand is very slick. I've no idea how much money it cost to make and no interest right now in looking it up, but it looks pricey to me, and while there are all sorts of little details in the set dressing here as well, they are overpowered by a great attention to atmosphere. The air in the barnyard looks thick, the palette of the farmhouse interior seems to exude a musty odor and you can almost picture the rust on the hinge of the scissors during the haircut scene. But I promised no spoilers.
I will say, though, that the key element of the crazy, backwoods family is much more fleshed out here than in TCM. Each character gets something of a backstory and a character arc.
If there's one thing I find similar about these films, it's that, moment-to-moment, they were both quite unpredictable to me on first viewing. I had a general sense in both films of where things were heading (and, I mean, come on, with a name like Texas Chainsaw Massacre, you sort of know what's coming), but if you had paused it for me in the middle of any scene in either film and said, "what do you think is about to happen?" I wouldn't be able to guess with much confidence. That's pretty rare once you realize how formulaic movies tend to be.
I'm beginning to develop a fondness for extreme French cinema. Martyrs (2008) and High Tension (2003) delivered some solid splatter along with well-thought stories that didn't seem run-of-the-mill, formulaic or familiar. Frontiers may follow the ABCs of a Texas Chainsaw Massacre movie, but it remains well-executed and moderately interesting.
Four morally questionable twentysomethings flee to the country from Paris after political events result in violent riots citywide. They find their way to an inn run by some rather crude, aggressive, lascivious folk…two attractive women, and their rough brother Goetz (Samuel Le Bihan; Brotherhood of the Wolf). They exude a strange mixture of unnervingly forced hospitality and an almost sociopathic abrasiveness. During their stay we come to find that much more of this strange family runs things around here…and not in the most conventional of ways.
This twisted family turns out to be a bunch of cannibalistic neo-Nazis with a patriarchal pecking order and they have plans for their new guests. From here, as with any Texas Chainsaw Massacre, Wrong Turn, Hostel or Hills Have Eyes film, we sit back and watch while wondering if any of our protagonists make it out alive.
Writer/director Xavier Gens (The ABCs of Death - X is for XXL) brings us from a socially/sociopathically awkward bed and breakfast to a tour de force of violence, cruelty and gore. From hooks through Achilles tendons to using boltcutters on Achilles tendons, this film provided me with ample reasons to wince...and a lot of reasons for me to fear for my Achilles tendons! The sound editors clearly had their hands full with all of the bloodsplatter, bludgeoning, crushing and stabbing going on.
I was especially pleased with the acting. I don't speak French, but the fear of the victims felt real and the family had a more intelligent and methodical Texas Chainsaw-esque vibe to their unsettling behavior and fearful respect of their father. The fear was certainly merited and shared by the audience because of the tone set by the constant violence. Although the violence never turns to rape or sexualized violence (like so many movies just out to shock us at whatever cost), there is abundant violence against women and the ease with which it's executed is truly illustrative of the soulessness of our villains.
I found this to be a well-composed, solidly executed film and lovers of cruelty and jaw-dropping violence will likely enjoy it.
This review was of the unrated director's cut, which was not available with English dubbing. Surprisingly, the subtitles seemed poorly translated at times. I won't explain…it's no big deal, but you'll see what I mean unless you can follow the film in French.