New Iberia, Louisiana. Detective Dave Robicheaux is hunting down a serial killer responsible for the deaths of several young women. Returning from yet another horrifying crime scene he meets Hollywood star Elrod T. Sykes. The star, who is currently in town shooting his latest film financed by ‘Baby Feet’ Balboni, the local hood, tells Dave that he has seen floating in the swamp the partially decomposed body of a black man in chains. The discovery unleashes painful memories of a previous case for Robicheaux. At the same time he begins to suspect that the two cases are somehow connected. But the closer Robicheaux’s investigations bring him to the murderer, the closer the murderer gets to Robicheaux’s own family… —Berlinale
One of France’s premiere directors, screenwriters, and producers, Bertrand Tavernier is renowned for making dramas encompassing themes as diverse as familial relationships, World War I, and contemporary social ills. Regardless of the subjects they explore, Tavernier lends his films great introspection and humanity, something that has established him as one of the French cinema’s more progressive and compassionate figures.
Born in Lyon on April 25, 1941, Tavernier grew up with a love of film and wanted to be a director from the age of 13. He was particularly influenced by such American directors as Joseph Losey, John Ford, Samuel Fuller, and William Wellman, and – during a spell at the Sorbonne, where he studied law – he became involved in the film industry as an assistant director for Jean-Pierre Melville. Tavernier became then a film critic and worked for prestigious publications as Positif and Cahiers du Cinema. His first feature film, L’Horloger de St. Paul (1974), received international… read more
It presents like the whittled down version of what was going to be a terrific television series, similar to Mulholland Drive. But I enjoy this film and am particularly intrigued by the distinct world it creates, playing with phantoms as characters and uncertain mental subjectivity.
The first time I watched this I didn't like it at all... it was on dvd and it was the american cut... but I didn't know that! So when they presented it at the World Film Festival of Montreal I learned that there was a director's cut and wow, what a huge difference! It's like watching the happy ending version of Terry Gilliam's brazil and then the real version...
Tavernier’s representation of the “American archetype” in “In the Electric Mist” (2010) is a diligent repetition of endless Hollywood films about super-crooks and super-heroes. The American super-crooks… read review