Following her husband’s suicide and the fall of their family business, Sandra calls her brother Marco and asks him to come back to Paris to exact revenge on the man responsible. Marco moves into the building where Laporte’s mistress lives with his son, but things don’t end up the way they should.
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Very disturbing. Just how I like it. There is something very special about Denis. It's not just the dark subject matter. It's the way she tells the story without a lot of information. The plot is going to go where it goes and there's nothing predictable about it.
Completely magnetic. Denis's command of tactile visuals is as strong as ever, the score roils in perfect tandem with the mounding tension, and as the pace of the film accelerates it becomes awesomely disorienting and intense. The last scene is at once way too horrific and impressively restrained. Makes Prisoners look like a Jolie thriller from 1999. Hell of a year when it's between this and Drug War for the top spot.
Another proof, that every Denis movie is a great one. Probably the best "Thriller" (if you want to call it that) I've ever seen, very mysterious and haunting till the end and also surprisingly hard-hitting and shocking, especially the last sequence. Definitely one of the very best movies this year.
The story isn't entirely fresh, but, damn, Denis' presentation of it is devastating. Her (usual) elliptical storytelling is a perfect match for the material as the lurid secrets are revealed piecemeal. Form and content in perfect unison. And that Tindersticks score nails the ambiance. This is how you make neo-noir: pulpy, atmospheric, forceful. Bastards very much feels like a lost '70s film.
The most difficult of Claire Denis' films. Difficult to watch, to understand, to accept, yet obviously excellent. I will need to watch it a second time; all of Denis' films deserve a second viewing (at least). Image by Agnes Godard. Co-stars Chiara Mastroianni, daughter of of Catherine Deneuve and Marcello Mastroianni. Do not expect "light entertainment".
So much abstract darkness. All the fluttering dead space serves both plot and atmosphere, transporting us further and further into the film's quagmire of mood and doom. Yet as the arresting conclusion draws near, the feeling that emerges is a kind of sympathy for these poor bastards. One of the greatest neo-noirs ever made and Denis's best since L'intrus.