Like "Elephant"-era Gus Van Sant directing a remake of "The Omen" set in post-WWI France. Beautifully shot by DP Lol Crawley, but the film's treatment of psychology is too superficial to ever feel as though it's getting to the heart of a fascist demagogue's origins. The apocalyptic, thundering soundtrack by Scott Walker overpowers everything, which I suppose is as it should be - it's the best part of the movie.
A fairly mediocre family drama that neverheless manages to sustain an impressive level of tension before finally crumbling into a parodic reductio-ad-hitlerum-meets-Hellboy-villain mess in the final 10 minutes or so. On the other hand, Scott Walker's soundtrack is strikingly efficient (and perhaps largely responsible for what is successful in the film)
This could be 20 minutes longer to give depth to Pattinson reappearing as the Bastard. I don't buy the intertitle as literal, nor do I buy the father beating his son out of cuckoldry - basically dynamic of the parents & Pattinson should be explored to that end. The childish "tantrums" did a great job of poignantly being analogous to 2010s proto-fascism. Walker's score was incredibly effective given the slow pace.
Actor Brady Corbet's directorial debut leaves a lot to be desired in terms of the near-fainéant progression of the story. However, despite its sometimes unbearably slow pace, the cinematography is wonderful; the score is horrific and incredible; and the brilliance of the third act (Prescott's ominous childhood transformation into a fascist idealogue) makes the whole film worth the watch.
Il film divampa in un finale zulawskiano di terremotante ed enigmatica potenza, che fagocita la Storia; un attacco di panico universale che annulla l'Apocalisse, sospendendo entrambe, rimandandole, anzi, rendendole eterne ed ideali, quindi extra-storiche, destinate a reiterarsi in ogni epoca, su altri globi d'argento, attraverso figure cristologiche che si capovolgono, perché il Male è inizialmente un angelo.