‘Misericordia’ review: Suggestive French thriller surprises

Alain Guairaudie begins in a mood of death, one that never shakes with a twisted in a twisted manner. Baker died. He lived in the Saint-Martial municipality remotely, making the loaves to what appears to be a small number of neighbors. Jérémie (Félix Kysyl), at one time, a teenager trainee has returned to this man, but now an adult was drifting, with a crop of Lank hair, has returned alongside his body and sadness.
Or perhaps it is not just sad like thinking, and returning to his childhood town where the widow of the baker, Martin (Catherine Froot), moved by the presence of a Jeremy, insists that it remains for a period of time in the empty bedroom of the former Chomans of Vincent (Jean-Papist Durand), and now came out with his family. There is a background story here, salty and suggestive, but Guiraudie sprinkles it slightly as possible, waiting for a plot to rise to fullness. Jeremy may also love his teacher and wife, perhaps more. Vincent is not crazy about returning to the homeland.
“Misericordia”, as a title and a movie, suggests the occurrence of mourning, or, to go with Latin translation, is close to the delicate mercy. From a cheerful, Guiraudie does not have an interest in making this film. Jérémie is launched at the bottom of the street like a mysterious chaos in the amazing denim, and the stretch wrestling in the woods with Vincent and flourish with Walter (David Ayala), a hateful player who does not mind drinking with the company. Each scene brings another layer to the performance of Kysyl, by curious transformation, unity and aggression.
Jérémie enters himself where he does not belong – you feel before seeing him. Guiraudie, known for his exciting Gate 2013 “Strange by lake,” He never was shaken with such a Shabulian as he did here. It is a cinematic director with a strange concentration, writing specially liberated characters, which makes them dimensions but also dangerous. “Misericordia” plays in the course of night surprises (these are bakers with evil watches), including the frequent scene of Vinci who hovering over the house sleeping in his old bed.
Félix Kysyl, Left, and Jack Develop in “Misericordia”, an exciting film that accommodates human behavior fluctuations and leaves punishment aside as a secondary procedure.
(Sideshow and Janus movies)
Nothing of this gets a chilo mixing or a jumping treatment for most American excitement (Mark Ferguer’s points walking on a rope from a synthesis suggestion). Even when there is a murder – it is a real icon – Guiraudie continues with its perceived and deliberate flow, a sophisticated touch either to love you by sabotaging the movie or making you yearn for a more millodramatic thing.
Try to resist this motivation. You will lose a pair of sweetened local policemen (Sébastien Faglain and Salomé Lopes) who, in a welcoming extension of dark comedy, deal with the case in an unprecedented and non -judicial way, and it looks like a hobby for them. They also keep some strange midnight hours, as the local priest, Father Philip (Jack Devilla), who hides a bold line and a tendency to appear in the right place in the wrong time.
This is not the type of linguistic excitement in which all elements click in place with craftsmanship that complements a attentive eye. It is the one that accommodates the fluctuations of human behavior, and leaves the punishment aside a secondary concern. Like Morel’s fungus in a society that seems to grow too much, hurriedly engraved, there is a sense of the inevitability of the mulch on this topic. You He can Back to the house again, “Miseicordia” suggests, perhaps with more agenda the second time. Fill in guilt optional.
‘misericordia’
It has not been classified
In French with English translations
Running time: 1 hour, 44 minutes
Play: It opens on Friday, March 21, at the Nurat Landmark and West Los Angeles Theater