An Occupy Melodrama by any other name is still an Occupy Melodrama, and Fabrice du Wells’ latest doesn’t really try to keep up with the conventions of his genre: “irrational” may be titled “single white female nanny” or “deadly domestic”. Still, if it isn’t the most amazing or original of Belgium’s Helmer’s character-driven thrillers so far, it draws attention to the beautifully crafted story of a wealthy family infiltrated by a young woman with a hidden agenda. The mix of Art-House Bonafides and Pulp Satisfaction should put the Toronto Fest World Premiere in a position to attract sales in a variety of formats around the world.
Appearing in the director’s last film, Aradhana, Benoit returns to Powellward (still known to many since the feature debut of the infamous 1992 serial-killer Mock-Doc “Man Bites Dog”), this time as the central character. Her Marcel is a well-known veteran author whose title was invented by the editor Jean (Melanie Douty) of the groundbreaking novel. They have been married for twenty-five years, and now he is moving into the vast country property he inherited from his publishing-house business father with their only child, Lucy (Janina Halo Focan) and the newly acquired Great Pyrenees.
They’ve got their careers as well as appearing for a complete overhaul of the palace grounds, so apparently it never occurred to anyone that a new dog needed some training. Therefore, when the big white Ulysses disappears into the property, everyone is very grateful that he is unfamiliar with Gloria (Alba Gaia Belugi), which seems easy to use with dogs – and children. He gives the couple a tragic story that draws their sympathy. Soon they are paying him a kind of playmate / babysitter, then a place to stay, then a permanent place. It does not occur to them that Gloria, even if it is her name, has carefully arranged all this. Let’s say she claims to have hurt herself (and offers safe housing), or has stolen money to fire an already existing domestic worker on suspicion of theft.
You might ask why these intelligent, earthly people give their child to a complete stranger, or take his words as truth on someone else. Especially since Gloria feels nervous and cheerful before every member of her family (including the dog) starts running the fence with sincerity. Marcel is the first to really notice his irrational behavior, which attracts and frightens him. This is appropriate, as it turns out that because of the intricately infamous love / hate we can only finally understand, he is here.
Poor Ulysses aside, no one here is exactly an innocent team – even the young Lucy is a handful of somewhat graceful ones. Still, it’s a functional enough nuclear unit until their new “helper” starts yanking on every last frayed seam of their relationship. In particular, he knows where Marcel’s dead bodies have been buried in the past, even claiming to be his biggest fan.
The disbelief makes it easier for viewers to suspend for the “irrational” as the film gains momentum, with increasingly colorful presentation-like styles growing towards higher lyrical levels in the 1970s. Yet, the film is reasonably more defined by the splendor of money around its leading person than by the frantic violence of their inter-organization. Without decaying caricatures, Du Wells co-authors and actors create full-blooded characters whose privileges have fed their fables প্রক in fact, we wanted a glimpse into the sexual life of the literary couple we wanted. Yet somehow it’s Lucy, who reveals the most bizarre hidden aspect of the birthday party set-piece that goes to the top, yet still develops a clear idea.
Poelvoorde reaches out to the victim desperately from the shock of an expert descent, Belugi gives him the most messy notes in the film even Gloria gets more glamor in her madness. Dowley is also powerful as a wife, who can only be pushed so far, which makes Marcel’s ultimate panic more understandable. Only fluent French readers, however, will be able to absorb the translated backstory mysteries (with gin) scrolled behind the film’s final credit.
A skilled production package makes great use of the amazing location (Chatau de Romant near the Champs-Elys লes in Belgium, Belgium), as demonstrated by both photographer Manu Dakos and production designer Emanuel de Mলেlemester. Vincent Kahn’s original score can also be noticed, using minimal music, ambient sound and a memorable explosion of thrash metal.