If you’ve ever wondered how a filmmaker would visualize toxic masculinity – not in script or performance, but in the visual language of a film – then wonder no more.When sex worker Nina is left stranded in the Canadian countryside after a bachelor party, she has no choice but to turn to her former clients for support. After a group vote, they decide to let her stay with them for the weekend – but only if she agrees to live, drink, and hunt as one of the “wolves.
Director Annick Blanc and cinematographer Vincent Gonneville shoot much of the movie in extreme closeup. Entire sequences play out via the leering faces of drunken men; even a hardened horrorhound like myself – no stranger to the ugliness of the human body onscreen – teetered on the edge of overstimulation throughout. From a filmmaker’s perspective, it’s an aggressive choice, one that visually conveys how Nina could be both repulsed and intoxicated by the men who take her under their wing.
. There were also moments of beauty – both violent and otherwise – that illustrated the firm grasp Blac has on her subject matter. I may never make a full-throated recommendation for what Blanc has concocted, but I confess I also want nothing more than to seek out five-star reviews of the film. Just don’t ask me to experience this on a 50-foot screen ever again.
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Source: AustinChronicle - 🏆 593. / 51 Read more »
Source: AustinChronicle - 🏆 593. / 51 Read more »
Source: AustinChronicle - 🏆 593. / 51 Read more »
Source: AustinChronicle - 🏆 593. / 51 Read more »
Source: AustinChronicle - 🏆 593. / 51 Read more »
Source: AustinChronicle - 🏆 593. / 51 Read more »