Rendező:
Pascal LaugierForgatókönyvíró:
Pascal LaugierSzereplők:
Morjana Alaoui, Mylène Jampanoï, Catherine Bégin, Xavier Dolan, Patricia Tulasne, Louise Boisvert, Juliette Gosselin, Anie Pascale (több)Streaming (1)
Tartalmak(1)
Egy több sebből vérző, kegyetlenül meggyötört lányt találnak a rendőrök. Lucie-nak hívják és közel egy éve tűnt el. Nem hajlandó elárulni, hogy ki tartotta fogva, és hogy sikerült megszöknie. A rendőrség később megtalálja azt az elhagyatott vágóhidat, ahol a lány több sorstársával raboskodott, de arra nem sikerül rájönniük, hogy fogva tartóikat milyen cél vezette. Az árvaházba került Lucie egyedül csak a vele egyidős Anna előtt hajlandó megnyílni és csak ők ketten tudnak arról az ártó szellemről, amely szökése óta üldözi a lányt. Tizenöt évvel később egy szemlátomást átlagos családra egy fiatal nő tör rá kezében egy csőre töltött vadászpuskával egyetlen kitörölhetetlen szándék által vezérelve: hogy bosszút álljon. (Corner Film)
(több)Recenziók (7)
It’s been long since we had such a good and smart horror film. Martyrs doesn’t bring anything new, it only skilfully combines and uses elements that have been common in the genre over the last ten years. In theory, this film could be the peak of an era, because I can hardly believe they can make anything better with those ingredients. The first half is marked be fear, blood and questions, similar to another French brutal film, High Tension. The turning point between the first and second half consists of one of the most shocking and awful scenes I can remember. The second half is then marked by the worst of psychical and physical horror. It’s gritty and ungratifying, and sets the stage for the climax, that is stupefying – either in the positive or negative meaning of the word. This film is really only for a selected few. It’s not the bloodiest or the most brutal, or even the scariest horror film ever. You can’t say “I’m liking this”, because there are at least 20 minutes in the second half that nobody can possibly like, but it’s bloody effective. And if you get the twist, you won’t be able to get it out of your head for quite some time. Philosophical horror full of blood and torture… Enjoy! Horror movie of the year
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Fájdalmas élmény volt, amelyre nem szívesen emlékszem vissza. Filmes munka szempontjából nagyon jó, kiszámíthatatlan forgatókönyvvel. Kísérlet a mély gondolati fináléra ugyan nem sikerült, és véletlenül sem csinál a filmből komoly alkotást, de Eli Roth filmjével ellentétben itt valaki legalább megpróbálkozott vele. E gondolatátviteli kísérlet nélkül a főszereplő hasonló szintű szenvedése elfogadhatatlan és visszataszító lenne a néző számára.
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This is the essence of screenwriting idiocy that refuses to make the characters anything more than pieces on a chessboard of slaughter. These are one of the best things I love about the current French exploitation wave, but when you spend the first half desperately looking at what jerks the main characters are and the second half looking at what jerks those around them are, you kind of start looking forward to the end. But then comes the final point, and I just helplessly wonder how much Western critics must have seen that made them yelp so much. It left me completely cold, desperately bored, and kind of... pissed off. Laugier is a very decent craftsman, no question about it, but as a screenwriter he sucks!
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The hype around the Martyrs is the void itself. There is a good idea here, but its development is lacking. If there was one thing that really bothered me, it was the presence of Emilie Miskdjian. In her case, the make-up artist did an incredible job.
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Definitely one of the most ambitious and interesting horror films of the past decade. An unpleasant and intense experience at first, formally almost perfect – from the tantalizing gore and dense atmosphere in the first half to the crystal clear psychological terror in the second half. The film visibly tries to go deep and shock with its unpredictable story, which creates quite a contrast with the ubiquitous and sometimes unnecessary brutality (although it’s certainly not the most brutal horror film in history), but at least it gives the action on the screen a much more coherent structure, which is strengthened by the stupid but at the same time excellent final twist. I confess that I considered all possible ratings while watching it, and I had to go to sleep to sort it all out in my head. Martyrs is a challenging film, at first glance made for effect and money, but internally far more mature than the vast majority of modern exploitation horror. But only Pascal Laugier knows what it was all supposed to mean. 60%
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The added value of Martyrs is its demonstration of the freewheeling and encompassing nature of horror itself. The film moves from exploitation, to haunted, to torture porn, to monster horror, to body horror, to the religious sector, not mixing the subcategories together but instead, thanks to the unpredictable script, allocating them in sequence, with almost none of them brought to a satisfyingly conclusion. As a result, from the animated beginning (or 1st half), all shot handheld, where the average shot length is about 1 second, even given the nature of the violence (from wild, unpredictable, and messy to methodical, purposeful, and utterly cold), the shot lengthens and the image calms down. The final infuriating (non)point is brilliant in its underhandedness to the viewer, who has had to go through a lot just to be told to "keep doubting." _______ Make-up artist Benoît Lestang couldn't have bid a better farewell.
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As a whole, I found Martyrs to be considerably uneven. The first 45 minutes is an absolutely brutal, naturalistic, bloody, intense, and thus excellent ride that if it had continued to the end (and been cut down a bit) might have earned 4 stars. But at the moment it starts to talk too much, explain, and perhaps even outline to the viewer the possible message or meaning of what they are witnessing, it's actually quite boring and the "serious" angle just doesn't fit. Conceiving of it purely as an exploitation film and leaving a lot of the context open and rather just hinting at it gradually would have been a much better choice. After all, such an extreme conception cannot be seen as something thoughtful or philosophical.
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