It could've been made much weirder, a nuanced weird like beginning of the film, not violent weird. definite problematics in depiction of outsider/refugee as monster with no chances of winning along with an aestheticization of the integration process. the film captures the beastliness of the mr obama's body/appearance while failing to capture his inner life.
An impressive first feature, Provost's cannily disturbing view into modern-day Northern European xenophobia and immigration gets under your skin and stays there. The impasse in which the protagonist finds himself is mirrored by the inconclusive ending into the viewer's release from the story. Very much reminiscent, visually and narrative-wise, of Denis Vileneuve's pre-'Sicario' work. A film worthy of the big screen.
Buena película, con una atmosfera que me recordo un poco a "Taxi Driver", una película interesante. Buenas actuaciones. Al principio la comence a ver sin ganas, despues de unos minutos, ya estaba totalmente interesado! Recomendada un debut solido para el director.
The eroticism does not work to enhance what might otherwise have been a very insightful, poignant film about African immigration and global capitalism. Maybe this might still be enticing to Belgians, but from a U.S. perspective this is tired ground that always runs the risk of being offensive due to the overload of sexual stereotypes and cliches. Nice premise. Strong acting. Horrid storyline and directing.
7/10, the beginning is powerful, but as the time goes by the protagonist's intentions become more obscure and finally its symbolism about race, sex, gender, civilization and refuges becomes thinner. Nevertheless the movie is visually aesthetic, its minimalistic music full of ambiguity and Sawadogo's performance top notch.
A harrowing performance of false hope and eventual despair is given by Isaka Sawadogo (Diego Star) in this sole feature film, to date, from acclaimed short film maker Nicolas Provost. From its' startling opening throughout there is an air of both danger and suspense that can be quite oft putting at times. Well scripted by the director along with Francois Pirot and Giordano Gederlini. Stefania Rocca also impresses.
Swiftly moving from dreamlike ambience to social realism, 'The Invader' first reminded me of Claire Denis and her preoccupation with African bodies in urban landscapes. Similarly her films are not averse to segue into violence, though here that shift occurs more uncomfortably. Is the film subversive or sincere in its portrait of invader as threat? Even if that threat is socially-actualised, its's worrying. Provoking.
For weeks I have been at pains to find a single word potent enough to drive back this film back into the gutter of filth and slime. I give up. It's utterly offensive to activists working for migrant rights, to solidarity groups in Belgium, to West African migrants looking out for each other. There is a glib attempt at narrative, and a heavy dose of visual pirouettes to make up for the gaps in this sleazy story. BS.
If we see it as a commercial film it is really interesting. It has a topical theme, explained in a deeper manner, and with a traditional language used today in commercial spy-films, we are involved in a story that is at least sensitive and human. The negative thing is that in some scenes I can feel too much fiction rather than reality. I also don't like the excessive negative character given to the black actor.
Ce que j'ai aimé, c'est surtout l'obstacle que forme, en amour, la différence de classe sociale qui creuse un fossé entre un dépossédé et une nantie. Tout ce qui, sur un plan humain, peut les rapprocher, devient insuffisant sous ce rapport et la peur de l'autre l'emporte - aucune chance ne lui est donnée.
It's fiction and it's real. A very impressive film about immigration and isolation that shows "an oppressive [rearefield] atmosphere of urban alienation through the frequent use of shallow focus and a powerful use of sound and minimalistic music." (Maximilian Yoshioka)
This looks good but it feels wrong and racist. This is not Fassbinder and Ali: Fear Eats the Soul, where things felt real. 'Obamas' blindness to her wealth feels unreal. And he is presented as a maniac. Can't get my mind on what happens in the end. Is this an obsession, the story of a stalker and not of an refugee? Not sure..