One can only imagine the undying pain held captive within the heart of a parent who loses a child to forces beyond their control. For those related, the untimely taking of innocence (especially of those who die at such a young age) is almost impossible comprehend, let alone come to terms with enough that the remainder of one’s life could continue unaffected by feelings of grief, anger and despair. More often than not cinema tends to gloss over depictions of bereavement and human anguish, opting not to dwell too heavily or too long within the mind of the brokenhearted but instead favoring a more restrained, un-confrontational portrayal of those in mourning. Whether for fear of being too realistic or simply not wanting to ‘waste screen time’ is unclear, however the recent works of Lars Von Trier (Antichrist), Jan Antonio Bayona (The Orphanage) or even past gems such as Nicholas Roeg’s Don’t Look Now have shown us that it is indeed possible to reach a level of truth within the heart of darkness and not compromise in the process. Taking place in a more exotic setting yet embodying the same intentions of raw emotion and honesty is Vinyan; Belgium-born filmmaker Fabrice Du Welz’s stunning tale of sorrow and another exceptional study into the self-induced horror one can create as a result of inexplicable tragedy.
THE LOWDOWN: Six months after losing their only child to a violent tsunami while on holiday in Southeast Asia, Jeanne (Emmanuelle Beart) and her husband Paul (Rufus Sewell) struggle to adapt to their new life as grieving parents. While at a fundraising party to promote aid for those whose lives have been affected by the disaster, Jeanne is convinced she sees their son in a documentary film featuring orphans living off the coast of Burma and convinces her husband to follow her and embark on a search for him. Fearing their son may have become a victim of human trafficking and the deceitful people inhabiting the island, Jeanne and Paul soon find themselves stranded, broke and helpless in the middle of an increasingly treacherous jungle, becoming increasingly vulnerable to the overpowering unknown and its effect on their deteriorating sanity. Has the search for their offspring lead them toward a fate worse than death?
THE TERROR TALE & ITS TIMING: Opening with a striking image of Beart’s flailing hair submerged in an ocean of blood-red bubbles as an increasingly high-pitched screeching grows ever more amplified, only to be cut off abruptly by her surfacing in a bikini amid a gorgeous tropical beach, director Du Welz immediately establishes his assertively bold approach to the film. From here an interesting narrative structure is established that employs both the poised restrictions of reality with those more akin to a dream-like state, thus reflecting not only the psychological dissent undergone by the characters in their desperate search for a return to normality but also a state of mind that allows for a more emotionally resonant experience as a viewer. For instance, the first third of the film illustrates the stark reality of a grieving couple and their struggle to accept a future without their only child. As the story takes them further across the waters of the pacific and into the unknown, feelings of guilt and angst manifest themselves unlike anything before – often to the point of uncontrollable delusion and fantasy. Needless to say, by the time the final reel kicks in the disturbing disposition of both Jeanne and Paul’s psyche reaches a point so fractured and beyond repair that it can only result in a never ending nightmare. Ultimately, the action and pacing of Du Welz’s screenplay deftly mirrors the regressive path undertaken by its’ protagonists, unlike many a psychological drama which tend to follow a traditional three act formula that almost always guarantees salvation.
For a story so simple and primal in its foundation, Vinyan is incredibly ambitious with regard to its scale and scope. The collective courage of the films’ international production team (financed in part by French, Belgium and UK sources with a largely all-Thai crew) is one of impressive influence and talent and more than compliments the unique world in which Du Welz strives to portray. In many ways the elaborate production seems almost uncharacteristic to the nature of the story being told, however this is one of the movie’s best qualities as the exotic locales, haunting cinematography and eerie symbolism all help to create an atmosphere so intoxicating and surreal that its cumulative impact manages to operate on a level that is (arguably) deeper than logic; that of pure emotion. The suggestion of a ghost story and potential supernatural occurrences also give the screenplay a sense of ambiguity and intrigue had it otherwise simply played the drama straight.
DOOMED CHARACTERS: For two characters whose souls are already irrevocably broken from frame one and remain as so throughout the duration of the story, the challenge beset upon the filmmakers to effectively cast the roles of Jeanne and Paul Bellmer would have no doubt been a perilous voyage in on of itself. From an agent’s point of view neither role is heroic or villainous, nor do they provide any of the more customary attributes associated with Hollywood archetypal characters that would normally make a part attractive for an actor. Needless to say Vinyan’s lead roles were written and intended for committed performers unafraid to delve into some pretty dark territory and whom would have been willing to dive in head-first without fear of failure or critical misconception. The most impressive part about both Beart and Sewell’s fearless performances (apart from their utterly believable on-screen relationship) is their shared ability to convey unmistakable emotions through virtually no dialogue at all, especially in the film’s final third. As they stumble aimlessly through the jungle beset by bizarre visions and dazed into confusion the inevitable rupturing of their once lasting bond via the onset of an unwanted reality is heartbreaking to watch and remains poignant right until the savage conclusion. Petch Osathanugrah offers fine supporting power as the shady yet potentially good-hearted travel leader Gao, however Julie Dreyfus is wasted in a role that initially appears promising only to later be abandoned entirely.
THE LOOK OF FEAR: Much like the inner-torment and spiraling insanity of its characters, the entire visual aesthetic of Vinyan is designed to lead its audience down the path of an increasingly threatening landscape of which there soon bares little to no resemblance of reality. Even in its more subdued moments there is a palpable sense of foreboding and dread that serves as a warning for what is to come, evidenced through stylized lighting schemes and carefully placed symbolism. Furthermore, when it comes to the films’ more sweeping views cinematographer Benoit Debie’s masterful facility for capturing the stunning yet eerie locations in all their colossal splendor is often breathtaking as he continually integrates both the beauty of the panorama as well as the jungle’s all-encompassing claustrophobia and power to swallow one whole. The occasional spontaneity of the editing and sudden transitions from one dreamlike image to another further induce the illusory mood and feeling of one’s grasp slipping. One could even say Vinyan is the equivalent to watching the National Geographic Channel on LSD, albeit with Emmanuelle Beart.
THE SOUND OF FRIGHT: Beaten, bruised, battered and steeped in the wilds of an unknown rain forest, the aural assault of the inundated Jeanne and Paul vibrantly comes to life through Vinyan’s impressive soundscape that combines a quasi-experimental score by Francois-Eudes Chanfrault and multifaceted audio effects by Fredric Meert. Combining an eclectic yet remarkably unified marrying of techniques the two audio maestros serve to provide the film with a singular vision of a funneling reality, one that emulates its austere visuals as much as its uncanny soundtrack. Of particular note are the electric guitar crescendos featured during a number of key emotional hotspots that help tie together the next progression of madness undergone by the films’ doomed duo; an interesting touch and a tool not often employed in genre film music.
FINAL THOUGHTS: Part supernatural horror film, part marital drama, part mythic meditation and everything in between, when everything is stripped away Vinyan is ultimately a story about the pain caused by insurmountable grief and its affect upon one’s mind. In many ways the film resembles a collage of every repressed emotion not worn on one’s sleeve but rather of those kept hidden beneath the surface until the inevitable breaking point. Films like these are often overlooked by distributors and discarded by the general movie-going public, and understandably so, as such content perhaps challenges the sensibilities of the more casual viewer and irregular genre fan a little more than they would like. Ironically enough this is precisely the reason why such talented filmmakers continue to struggle to have their work see the light of day, so why not give this one a try. You’ll be glad you ventured into the jungle this time, I promise.
Dir: Frabrice Du Welz
Writer: Frabrice Du Welz
Cast: Emmanuelle Beart, Rufus Sewell, Petch Osathanugrah, Juile Dreyfus
Country: France/Belgium/UK
Run Time: 96mins
Rating: MA15+
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