Michel, a bit of a misfit but hugely attractive nevertheless, makes ends meet by siphoning off the money of women who fall under his spell. He’s a predator. If they women are lucky, he just strips them of their savings. If they’re not, they wind up dead as he makes off with the loot.
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"WHAT NIGHTMARES ARE MADE OF"
This movie touches just the surface of the inside and the mind of the characters but instead it focus on the consequences of their relation. A very dangerous and dark relation. Well acted, good direction and very entertaining. You wish the movie was longer.
A gut-wrenching and harrowing movie about the madness and destructive nature of obsession, love and passion. The director spares us nothing when taking us into the tunnel of despair and the actors are more than game in realizing his vision. Production design, photography and score all underline the drab and sad realism with aplomb. A movie you might not enjoy but rather endure. Still it´s impossible to look away!
FNC '14 Fabrice Du Welz modernizes the story of the 'honeymoon killers' with this striking, often demented tale of obsessive love and carnage. While not as affecting as Ripstein's 'Deep Crimson' Du Welz makes the tale his own with a strong script, a touch of whimsy and an incredible turn by Lola Duenas. Cinematography by Manu Dacosse (Amer, Strange Colour) is exceptional as well. Strong ending open to examination.
This is *probably* Welz's best film and the best film version I've seen of the Beck-Fernandez case...it's a tough story to adapt to film because the characters are so naive and stupid...also there's this push-pull between being a Capote-ish true crime story and a dumb exploitation movie.
Darkly trippy visuals combine with a slippery moral landscape to form an uncomfortable and eventually devastating world. In a structure similar to Calvaire the real emotional gravity doesn't hit until the end and when it does the well of sadness is surprisingly effective. Insane jealousy materialised into a serial killing frenzy. 3.5 stars
Perhaps true stories are not stranger than fiction, but are instead duller and less unique than it. As while the rest of the film is stronger than Deep Crimson in being more dramatic, less melodramatic, Alléluia also is quite predictable in its plot turns, especially since it repeats these mechanizations a few times. Interesting, however, how it intercuts the epilogue within the end credits, though.
I do like some of his work as an auteur in the horror/psychological/atmosphere area, but found thematically and character wise so uninteresting. Still, probably the most interesting auteur in those fields.
Despite being a free adaptation of the real-life Honeymoon Killers Du Welz makes the story his own, and gives us an unflinching look at psychopathy, and co-dependence. Truly upsetting, and powerful. And while Du Welz's usual stylistics are restrained here when they do pop up it is to masterfully share the characters pathology with our own as viewers of such horrors, and it is riveting.