Feaure Length Review: 'Frontier(s)' (2007)

In the eyes of most genre fans, the United States is generally regarded as the leading producer of the world’s best horror cinema. It’s an obvious fact that North America is responsible for creating the bulk of the genre’s output, with other countries such as Italy and the United Kingdom following not too far behind. However, in the eyes of many who know the fright field like the hand of their bloodied hand, the majority of quality horror fare hitting our screens (and television sets) of late hasn’t been originating from Uncle Sam but rather from the talented young filmmakers of France. As I mentioned some months ago in my review of David Moreau and Xavier Palud’s brilliant chiller Them, the French have been making a considerable name for themselves as premier auteurs of horror and Xavier Gens’ phenomenally effective shocker Frontier(s) can easily be considered among the leaders of the pack for its unrelenting intensity and primordial brutality.



THE LOWDOWN: During the riots of an election campaign as result of an ultra-conservative candidate to the presidency of France, small time crooks Alex (Aurélien Wiik), Tom (David Saracino), Farid (Chems Dahmani), Sami (Adel Bencherif) and his three month pregnant sister Yasmine (Karina Testa) plan to rendezvous at an undisclosed location in Amsterdam in order to escape the chaos and hide a bag full of stolen cash. When Sami is shot and killed the group decide to stop at a local inn en route where they are hosted to a night of free board and sexual escapades courtesy of its owners. However, when the youths make an attempt to leave the establishment they are quickly met with brute force and soon discover they are but prisoners held by a gang of bloodthirsty neo-Nazi cannibals, hell bent on initiating new members into their “family”.



THE TERROR TALE & ITS TIMING: ‘Survival’ horror movies are a sub-genre all their own. They are generally low on plot but high on drama, portraying many times in explicit detail the most raw of human emotions and the instincts we all possess when it comes to fighting for one’s own survival. Many critics seem to misinterpret survival horror as merely a vehicle to exhibit graphic brutality upon innocent characters, implying somehow that these films have no integrity or intelligence whatsoever and that the filmmakers themselves are no better than real-life killers. It’s easy to spray the screen with crimson and have it look spectacular enough to make gore hounds fill their drool cups, however it is a genuine rarity for such celluloid carnage to inhibit both technical skill AND be thought provoking at the same time. It is obvious to see where Xavier Gens has drawn inspiration from for Frontier(s), as he ticks nearly every box of modern horror clichés, particularly that of The Texas Chainsaw Massacre (eg, crazy family of murderers, butchery of the dead, emphasis on realism and brutality, etc, etc) among others. Tobe Hooper’s film is of course a masterpiece of survivalist horror; a truly nerve-shattering experience and so powerful that – no matter how many times you’ve seen it - still comes across as a virtual snuff film. It would be easy to say Gens’ film is a rip off but it possesses far more grit and honesty of character to be labeled merely an overseas imitation.



While it may follow a strict formula much in the spirit of horrors before it, Frontier(s) excels best in the degree of realism it manages to capture on screen. The tone beset by the film in its opening riot sequence (invoking a very La Haine-like atmosphere) immediately establishes a tempo of chaos and hopelessness in humanity, furthered then by the young group’s desperate attempts to regain a sense of control in their already fruitless criminal exploits. When the group arrive at the inn and are introduced to its obviously sketchy proprietors, there is an instantaneous sense that all is not quite right and that their very safety may indeed be under threat. As the first drop of blood is shed, the pace and strength of Gens’ film is unleashed like a rabid dog out if its cage and never lets up for a second until its closing credits.



As things go from bad to worse, feelings of viewer nausea and claustrophobia begin to set in as Frontier(s) makes itself known a depiction of humanity at its worst and the consequences of the evil acts depicted all the more heartbreaking when enforced upon its unsuspecting protagonists. This may sound like a condemnation but rather it is a compliment in the best possible way as the filmmakers prove their smarts by respecting their audience enough never to dumb-down the presentation of such deplorable behavior. Furthermore, one may wonder how such a disregard for human life could possibly be considered entertaining to watch but Gens knows his material so well that he acknowledges the film’s sadistic nature but also infuses it with the sensibilities of an exciting thriller scenario. Were not for this treatment of the material, Frontier(s) could very well have been quite a chore to sit through.



DOOMED CHARACTERS: An interesting challenge of moral logic arises when you consider the fact that the victims of Frontier(s) are criminals themselves and far from being law abiding citizens. Those preyed upon in horror films are typically innocent youths and often hopelessly naive to the eventual intentions of their aggressors, thus propelling an audience’s sympathy toward their predicament and fate. Even though the 20-somethings of the film take part in (initially) lawful protests against political corruption, they do possess a certain air of unpleasantness and are often obnoxious to themselves and those around them. But such insignificant factors are quickly done away with, as witnessing any character – good or evil - endure and eventually succumb to the effects of human hatred is enough to conjure up empathy from even the most condescending of viewers.



Standing out from a rock-solid supporting cast are two superbly realized performances - Karina Testa as spirited heroine Yasmine and Jean-Pierre Jorris as the unforgettably heinous family leader Le Von Geisler. As the audience’s point of view for the majority of the film, Testa is put through the ringer – physically and emotionally – and displays an amazing ability to translate her character’s psychological turmoil and turn it into pure physical rage against her attackers. The shell-shocked insanity she reaches as a result of her actions in the final reel is hauntingly effective and convincing as anything in a Vietnam War documentary. Jorris on the other hand creates an indisputably chilling villain; Geisler’s cold detachment from reality combined with the actor’s commanding presence help craft a frightening portrait of man upholding his prejudices with staunch conviction – as if Hitler himself was his sole idol.



THE LOOK OF FEAR: Horror films of this particular breed are typically low budget productions and rarely are ever financed by major studios for word-wide distribution. However, judging from the film’s sleek design and execution it is obvious that Frontier(s)’s crew had a little more dough to spread around to each production department than the average splatter film. Gens combines Jérémie Streliski’s tawdry locales/sets with Laurent Bares’ flawless camerawork and audacious visuals to lend a sense of bravado and twisted skill to the slaughter, making you almost forget the film’s otherwise niche’ appeal. Thankfully the professional sheen of the production doesn’t intrude on the feel of its environment, as the characters are literally painted head-to-toe in blood, sweat and even pig faeces as they run, crawl and stagger throughout the hellish surroundings of the family’s labyrinthian farmhouse. Frontier(s) also incorporates some of the most stunningly violent makeup FX ever to come out of France, rivalling anything featured in Alexandre Aja’s equally brilliant Haute Tension or Alexandre Bustillo’s Inside. Instead of treating the bloodshed as an obligatory gimmick, Gens opts for ultra-realism and devastation, furthering the film’s bleak and nihilistic tone whilst still providing room to applaud the mutilation of its villains.



THE SOUND OF FRIGHT: It’s been a long time since I’ve seen a horror movie that has not only been beautifully scored and composed but also one that has evoked such a consistent stream of emotions in me. Frontier(s)’s downbeat disposition is wonderfully elevated through Jean-Pierre Taieb’s evocative soundscape, arousing moments of inevitable dread and trepidation as well as exhilarating tension and speed. It is an exceptionally rich demonstration of just how important music is to a film’s lasting impact and that it should be an aspect paid the upmost time and care in any production.



FINAL THOUGHTS: Even through its extremely derivative roots and conventional wisdom, Frontier(s) really is just that: a frontier for the survival instinct. It is so brazen in its bare bones portrayal of the lengths in which one may go to preserve what little life they have left that it never for a second compromises its disturbing nature. The film is also an immensely potent thriller, providing some of the most breathtaking action set pieces in recent memory that solidify Xavier Gens as a talent to watch. Regardless of the film’s unrelenting sensibilities of human depravity there is an integrity and astuteness to Frontier(s) that deserves to be heralded; something many survivalist horror films fall short of achieving.

Dir: Xavier Gens
Writer: Xavier Gens
Cast: Karina Testa, Samuel Le Bihan, Estelle Lefebure, Aurelien Wiik, Jean-Pierre Jorris
Country: France
Run Time: 108min
Rated: R18+