As Belgian compatriot, and a big fan of his more than promising debut feature (the genuinely eerie backwoods-oddity "Calvaire"), I pledged I would follow the work of writer/director Fabrice Du Welz regardless of what he would do next. I already broke that promise with his next film "Vinyan", though, and even now - more than 12 years since its release - I was still reluctant to see it. It all has to do with the plot, and the simple fact it doesn't seem like anything I want to see processed into a thriller/horror film. Released only a few years after the devastating tsunami in Asia, "Vinyan" revolves around a couple who lost their son in the wave and remind behind soulless and heartbroken. When, at a fundraising event, the mother think she sees footage of her missing son Joshua, she persuades her doubting husband to spend a fortune on heading deep into the Burmese jungle; -on a dangerous mission with unreliable guides and without any tangible evidence their son really is still alive.
I read comparisons between "Vinyan" and major milestones such as "Apocalypse Now" and "The Deer Hunter". Because of the jungle setting, obviously, but also because Du Welz' script essentially revolves about the physical and emotional exhaustion, obsession, and the irreversible descent into madness. It's an extremely unpleasant film, thriving on a thoroughly gloomy atmosphere and the intense performances of both Emmanuelle Béart and Rufus Sewell, and the screenplay never gives you the slightest hope of a happy ending. The title allegedly means "angry spirits", and in the third act of the film these spirits are personified in a sort of hellish version of "Lord of the Flies".
In spite of a powerful and authentically dramatic first hour, it honestly feels as if Du Welz lost control over his own script and film throughout the entire third act. "Vinyan" becomes dull, repetitive, and frustrating when it should be getting more tense and building up to its climax. By this time, the comparisons with "Apocalypse Now" have long become irrelevant, and only the incredibly devoted Béart still makes an effort to drag the film over the finish line with her stupendous performance.
