He had offered her one of her best roles at the end of her Worship. Fabrice Du Welz entrusts Benoît Poelvoorde this time a character one would swear was written for him, namely Marcel, a writer who remained famous for his first novel. He settles with his wife and his daughter in a mansion in remodeling bequeathed by his mother-in-law, a renowned publisher. It is then that Gloria arrives in town, a shy young woman who befriends the girl, attracts the sympathy of the small family and quickly reveals herself as a great admirer of her book.
The playing field, a variation of a narrative model (the shock of a family or community unit by a disturber or a disturber) already surpassed by some great filmmakers, announces rather a pure psychological thriller. And Fabrice Du Welz, along with his co-writers Aurelien Molas and josephine hopkinsDo not hesitate to exercise, far from it. Very well written, concise and devoid of the slightest unnecessary embellishments, Inexorable above all it abuses our nerves with remarkable rigormaking it perhaps one of the director’s most accessible European feature films.
One might fear that by leaving the most rural, even natural settings, that by abandoning the breath of adventure and lyrical contemplation that culminated in the masterful last shot ofWorship, spreads out in concessions. Nothing of that. Certainly more collected, almost the opposite of his previous film, Inexorable don’t forget to trace the cruel beauty that resides in this game of fools, in this descent into hell, and this thanks to a once again impressive formal domain.
The director returns to pay for the services of Manuel Dacosseone of the most valuable directors of photography in the French industry at the time, since he also participated, for example, in three feature films by Hélène Cattet and Bruno Forzani, as well as in the magnificent Evolution by Lucile Hadzihalilović.
Ensemble, ils persistent à travailler la texture du 16mm, pour en tirer non plus un éclat sauvage, mas un clair-obscur à l’américaine de toute beauté qui, coupled with quelques audaces de mise en scène, reflète la part d’ombre des characters. Compared to the flat thrillers that come to us in packs of 12 in SVoD, the result is almost expressionistic. Old-fashioned movies, but not necessarily nostalgicentirely given over to the coherence of its effects and the torments of its protagonists.
The discreet charm of the bourgeoisie
In the midst of the resurgence of the erotic thriller made in the USA, the blame for Deep water or other people voyeurand thanks to an efficiency rarely achieved by its representatives, Inexorable in fact it has subtracted the transgression claimed by gender. Its setting inevitably evokes very theoretical works (such as… Theorem), but it is by assuming a much more sustained rhythm and more popular influences that it becomes moving.
The gigantic residence in which most of the film takes place, already dotted with gray areas by photography, quickly becomes a symbol ofa cultural petty bourgeoisie in a vacuum. In the process of being renovated, it contains many inaccessible areas and canvases spread over the furniture, like so many blind spots in this family united by a slightly overrated literary prestige, so many layers of varnish destined to crack as soon as Gloria enters its interior.
As soon as he settles into this classy little family cocoon (the setting for the interview), he exudes a palpable discomfort that disturbs even the aesthetic clichés that are generally attributed to this type of situation. Traditional car scenes refuse to make the passenger compartment a place of comfort, thanks to lighting and a game of reflections, music is used against the purpose… Its intrusion is total, and it will completely disrupt the ‘existence characters much more fragile than they want to believe.
Hence the importance of the trio of actors and actresses, formed by Alba Gaia Bellugi, Melanie Doutey and benoit poelvoorde. A trio that gets drunk during the film, thanks in part to several significant dialogues, even before the arrival of Gloria. Doutey deftly seizes on a bourgeois character with random generosity, while Bellugi brings all the necessary false innocence to the naive disorder he embodies.
As for Poelvoorde, he has the good taste to never stray too far from his usual game, a mixture of cunning charisma and clumsiness that is, after all, very human. The role is extremely complex and demanding, but it suits her so well that it inspires one of his best performances.
The latest piece of a particularly well-oiled mechanism that should, in an ideal world, present to a large audience a cinema of sincerity and quite refreshing aesthetic ambition. We believe.