Mourir à tue-tête

A stunning movie is not only for 1979 but also for 2005.

The movie shares the feeling of the women who suffer rape and the consequence. It is very shocking. And the vision is not limited in Quebec but also the world. Not only the Quebecoise suffers the sexual violence but also the women in Africa, in France, and in Vietnam. What is the worst is the consequence of the rape and the social ignorance of the protection for victim.

It is a fictional documentary but it is even more convinced and powerful than documentary itself. The filmmaker is very smart and skillful to present many aspects in such a limited space. Most of the victims keep silent because they feel ashamed of themselves. That is one of the reasons why seldom people understand them and thus can help them. This film offers a space for victim to speak out their feeling and also for audience to know about the violence and its consequence.

It is one of my favorite films.

The makers of this film did a great job presenting the different types of rape and how rape affects women, because ever since watching this film, I have felt much sympathy for raped women and have been warned against being a rapist (not that I ever would have). This drama film had me tied up very tight in the shoes of the rape victims, especially in those of the children presented in the court scene, which glued my eyes to the screen and had me eager to watch to the end. However, I initially wanted to watch this movie because I thought it would be more thrilling and horrific than upsetting, but after realizing the truth about the tone and mood of this movie, I had favored it even more than I would have thought.

As deranging as it may be, this film is a landmark and to me represents a decisive moment in Quebec cinema, taking the feminist movement to the screen with violence and truth. Those willing to sit through the first 15 minutes, a long, harsh rape scene shot through the eyes of the victim, will discover a thoroughly disturbing and highly human piece of cinematic art.