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Revenge (2017) Movie Review: A Bloody and Brutal Tale of Vengeance
Revenge is a 2017 French action thriller film written and directed by Coralie Fargeat, and starring Matilda Lutz, Kevin Janssens, Vincent Colombe, and Guillaume Bouchède. The film follows a young woman who is raped and left for dead in the desert by three men, where she recovers and seeks revenge upon her attackers. Revenge had its world premiere at the Toronto International Film Festival, as part of the Midnight Madness section, and received critical acclaim, with praise for the screenplay, direction, cinematography, and Lutz's performance. In this review, I will summarize the plot, analyze the genre and themes, evaluate the direction, cinematography, and music, and assess the performance, characterization, and dialogue of the film.
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Introduction
Revenge is a film that subverts the expectations of the rape-revenge genre, by presenting a female protagonist who is not a passive victim, but an active agent of her own fate. The film also challenges the male gaze and the objectification of women in cinema, by exposing the violence and hypocrisy of the patriarchal system. Revenge is not a film for the faint-hearted, as it depicts graphic scenes of rape, torture, gore, and mutilation. However, it is also a film that empowers women and celebrates their resilience and strength in the face of adversity.
Summary of the plot
The film begins with Jen (Matilda Lutz), an American socialite who is having an affair with Richard (Kevin Janssens), a wealthy married businessman. They fly to his secluded villa in the Moroccan desert for a weekend getaway before his annual hunting trip with his friends Stan (Vincent Colombe) and Dimitri (Guillaume Bouchède). However, things go wrong when Stan and Dimitri arrive a day earlier than expected, and Jen catches their attention with her beauty and sexuality. The next morning, while Richard is away, Stan rapes Jen in her bedroom, while Dimitri ignores her cries for help. When Richard returns, he tries to bribe Jen to keep quiet about the incident, but she refuses and threatens to expose him to his wife. Richard then slaps Jen and chases her into the desert with his friends. They corner her at a cliff edge and push her off, where she falls onto a tree branch that impales her through her abdomen. They leave her for dead and return to their villa to resume their hunting plans.
Jen survives the fall and manages to free herself from the tree branch. She wanders through the desert in search of water and shelter. She finds an oasis where she cauterizes her wound with a beer can. She also finds some peyote that Richard's helicopter pilot had given him as a gift. She consumes some of it to ease her pain and hallucinate. She then sets out to hunt down her attackers one by one. She kills Dimitri by stabbing him in the eye with a hunting knife while he tries to drown her in a river. She kills Stan by shooting him in the head with a shotgun after he chases her into a cave. She finally confronts Richard at his villa after setting his car on fire. She shoots him in the chest with his own rifle after a brutal fight. She then walks away from the villa covered in blood.
Analysis of the genre and themes
Revenge belongs to the rape-revenge genre, which typically involves a female character who is raped by one or more male characters and then seeks revenge on them by killing them or inflicting pain on them. The genre has been criticized for being exploitative, misogynistic, and sensationalistic, as it often portrays rape as a form of entertainment or titillation for male viewers. However, Revenge subverts some of the tropes of the genre by giving more agency and depth to its female protagonist. Jen is not a helpless damsel in distress who needs to be rescued by a male hero or avenger. She is also not a venge She is also not a vengeful monster who loses her humanity and morality in the process of exacting revenge. She is a complex and realistic character who undergoes a transformation from a naive and dependent lover to a fierce and independent survivor. She does not enjoy killing her attackers, but she does it out of necessity and self-defense. She also does not seek revenge for the sake of revenge, but for the sake of justice and dignity.
Revenge also explores the themes of gender, power, and violence in a patriarchal society. The film exposes the misogyny and hypocrisy of the male characters, who treat Jen as an object of their desire and disposal. They view her as a trophy, a toy, or a threat, depending on their mood and situation. They do not respect her as a person, nor do they care about her feelings or consent. They also try to justify their actions by blaming her for provoking them with her appearance and behavior. They assume that she is asking for it, or that she deserves it. They also try to cover up their crimes by silencing her or eliminating her. They do not face any legal or social consequences for their actions, as they are protected by their wealth, status, and connections.
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The film also shows how Jen subverts the male gaze and the objectification of women in cinema. The male gaze is a term coined by feminist film critic Laura Mulvey, who argued that mainstream cinema often portrays women as passive objects of male desire and pleasure, while men are active subjects of the narrative and action. The film initially presents Jen as a typical example of the male gaze, as she is introduced wearing skimpy clothes, dancing seductively, and kissing Richard. The camera lingers on her body parts, especially her lips, breasts, and buttocks. However, as the film progresses, Jen becomes more than a sexualized object. She becomes a human being with agency, intelligence, and courage. She also becomes a source of fear and pain for the male characters, who are unable to control or dominate her. The film reverses the male gaze by showing the male characters as vulnerable, weak, and pathetic. The camera focuses on their wounds, their sweat, their tears, and their blood. The film also uses irony and humor to mock their masculinity and ego.
Evaluation of the direction, cinematography, and music
Revenge is a well-directed and well-shot film that creates a contrast between the beauty and brutality of the desert landscape. The director Coralie Fargeat uses various techniques to create tension, suspense, and shock in the audience. For example, she uses long takes, close-ups, slow motion, fast cuts, zooms, pans, tilts, and aerial shots to enhance the mood and atmosphere of each scene. She also uses color symbolism to convey the emotions and themes of the film. For example, she uses red to represent blood, violence, passion, and revenge; blue to represent water, life, healing, and hope; yellow to represent sun She uses red to represent blood, violence, passion, and revenge; blue to represent water, life, healing, and hope; yellow to represent sun, heat, danger, and madness; and green to represent nature, growth, and transformation. She also uses contrast and saturation to create a vivid and stylized aesthetic that matches the tone and genre of the film.
The cinematography of the film is also impressive and innovative. The cinematographer Robrecht Heyvaert uses various angles, movements, and lighting to create a dynamic and immersive visual experience. He also uses different lenses, filters, and formats to create a variety of effects and moods. For example, he uses wide-angle lenses to capture the vastness and isolation of the desert; fisheye lenses to distort and exaggerate the perspective and scale of the characters and objects; infrared filters to create a surreal and psychedelic look for the peyote scenes; and 16mm film to create a grainy and gritty texture for the flashback scenes. He also uses natural light, artificial light, and neon light to create different atmospheres and tones.
The music of the film is also effective and memorable. The composer Robin Coudert (also known as Rob) creates a synth-heavy score that mixes electronic, rock, and orchestral elements. He also uses various instruments, sounds, and vocals to create a diverse and eclectic soundtrack. For example, he uses electric guitars, drums, keyboards, synthesizers, violins, cellos, f