, and there’s a dose of nepo-baby self-awareness and even one-upsmanship in what Brandon puts on screen here. A close-up hand job on that beach is just the first thing you’re treated to and strikes me as rather quaint in retrospect. On the drive back to the resort, James hits and kills a local man with Alban’s car, and when the couples try to cover up the accident, the police arrest Skarsgärd and his wife.
The whole thing is uncompromising and indelible: the sight of wealthy tourists wearing grotesque masks clings to you as a portrait of moral deprivation of a global elite. Goth taunting Skarsgärd with a handgun—unmoored and unhinged, delivering her lines with bloodlust—is a brightly lit nightmare. I stand by those literary references—though Ballard, who wrote better than anyone about moral decline, is the real touchstone here.
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