The Beast

When David Ehrlich reviewed The Beast (org. French title La Bête), he made the case -- that the movie makes the case -- that we ought to demand every major arthouse director make "their own Cloud Atlas" before joining the choir invisible. That is a fair way to view Bertrand Bonello's recent opus - a languid sci-fi drama that, as far as I'm concerned, solidified the movie year of 2024 as worthy of '23. When seeking out strange and defiant new cinema, this is exactly the kind of mystifying journey on which I yearn to be taken.

In the film, we follow Lea Seydoux through what appears to be different time periods. In several of them, the construction of dolls is involved. In the past and present storylines, she encounters a man played by George MacKay; in the future, she seems to dream of all these moments while submerged in a dark substance. Are they real events on any level? Hey, don't look at me.

It is the sort of film that might easily turn some people off and seem inaccessible as I describe it. (Others have likened its atmosphere and dream logic to the works of Lynch and its unsettling view of love and sexuality to the works of Cronenberg.) But I assure you that the film as such is often quite funny, with MacKay portraying one of the most wince-inducingly accurate parodies of the Incel archetype we've ever seen on film -- his pathetic "I deserve girls" vlog is one of the highlights of the picture, although its similarities with the infamous Elliot Rodger rant will doubtless disturb some viewers.

If that's not doing it for you (understandable), the film also offers beautiful shot compositions, masterly lighting, and wicked satire of modern movie-making itself, chiefly the digitalization of it.

Also, I guess in one of the time periods or "realities" or whatever, Seydoux's character is an actress whose credits seem to include Harmony Korine's Trash Humpers. As it happens, we'll be talking more about Korine later -- along with a markedly less intelligent contemplation on modern/future cinema.

Beautiful costumes and stunning sets, amazing performance of the two main characters. An original and engaging screenplay that resonates with contemporary matters. A movie that raises intriguing questions about the evolution of technology and its role in modern society. Bonello appropriately explores the importance of emotions and affects : are they desirable or to be avoided at all costs ? This movie offers a captivating and enjoyable travel through time and ages, deserving to be appreciated at its right value. The only criticism I would offer is that I found it a bit lengthy towards the end, and, at times, it was difficult to follow and understand.

Let's be clear, for this, you can't be faint hearted - you will need a strong constitution, when this gets started, interpretation is the key, as without, you may just flee, missing out on what the maker wants imparted (although absorbing to the end there's a good chance you won't make head nor tail of what's going on). In a future where the world's run by machines, with intelligence they interact like fiends, Gabrielle gives them an ear, bathing in liquid not clear (tarlike in fact), she is taken to a world that's made of dreams. There she interacts with someone that she loves, the scenarios are there to give a shove, to remove adoring bond, of the one that she is fond, and extract her hand from fitting, in the glove.

Both Léa Seydoux and George MacKay are quite spectacular, and so are you if you can connect all the dots.

It would be slightly unfair to assert that The Beast is a 20-minute story concept pulled from the rejection pile of Black Mirror plots, but given that it was loosely based on a 1903 novella from Henry James, it could be merely unfair to make such an assertion. We see past lives lived throughout imperfect days, slavishly assembled in three interleaved timelines, sometimes experienced within an alternative reality, while at other times merely through fictional narrative.

If one pays attention for all 145 minutes, and one would assuredly deserve a personalized baby poupée if one were to have the fortitude and stimulants required to achieve such a task, one would likely attain a sense of metaphorical imagery. There are metaphors for art, floods, beasts, pigeons, love songs, or maybe I have it backwards. There could be metaphors for humanity, disaster, and dolls. Either way, The Beast is probably filled with several metaphors for which I missed their significance, except for any references to flooding or fires. Flooding and fires are metaphors for disaster, whether real or impending.

Léa Seydoux and George MacKay act with the necessary talent to put together movies like this, but movies like this remind me how I would appreciate it if restaurants were to offer Half the Food for Half the Price.

I wouldn't mind directors offering Half a Movie for Half the Price.

This "La bête" is a strange filmic object, a science fiction melodrama between Lynch, Cronemberg and the minimalism of certain French experimental cinematography a la Godard, also touching on liminal oriental aesthetics, between the kitsch of a Sion Siono and the intellectualism of a Tsukamoto or a Park Chan-wook. The result is an exhausting aesthetic requiem, which romantically travels through time to forget it and make it forget (purify it in its DNA), a bit like the Gondry of "Eternal Sunshine..." and "La Science des rêves", but always cold and inexpressive, almost, in the extreme (in)expressive nuances of Léa Seydoux's face and in the icy looks of the substitute George MacKay (the film was written for the late Gaspard Ulliel). Freely inspired by Henry James's 1903 story "The Beast in the Jungle", Bonello's film talks about love and fear as engines of revolutions and annihilation, necessary but mysterious upheavals. Bonello's first attempt at sci-fi themes claims the right to transmute cinematographic language in an attempt to give a new original form to the unspeakable: the operation is halfway successful, in my opinion, because it fascinates aesthetically but is a bit exhausting on a narrative level and form. One remains dumbfounded and tired after the two-hour-plus duration, visual snippets remain in memory a la Oneohtrix Point Never, one would almost think, crazy sensorial splinters from other eras that resonate inexplicably, perhaps evoking the most famous motto of Hildegard of Bingen "Composing unknown characters and making an unknown language resonate." A mysterious and fascinating cinematographic object, undoubtedly, but not of immediate enjoyment or assimilation, but capable of arousing reflections and reasoning after the fact: a film to be investigated, to dig into for satisfaction. For many but not for everyone.