Chaos

CHAOS is a melodrama, yes, indeed. But when melodramas are this much fun--this exciting, socially aware, funny, heartfelt, just plain interesting and oh-so-pertinent to our world today, we should only have more of them this good. As a fan of writer/director Coline Serreau since her POURQUOI PAS?, I was still unprepared for how terrific this new film is. Actors Vincent Lindon and Catherine Frot are wonderful, as usual, but it's newcomer Rachida Brakni who is stunning from first to last. The story, which begins with an auto accident, never lets up its tension and grows more complicated and intriguing as it proceeds. If, as some have said, CHAOS is anti-men, the men in this film certainly deserve their raspberries. Further, the movie should be "must" viewing for Islamic families around the world. While I would stake my life on the fact that not all Muslim families are as male-dominated by lunkheads as is the family shown here, still--the Islamic world must eventually come to terms with its women and their liberation, if they and the rest of us are to prosper. CHAOS is must-viewing for so many reasons, I can't begin to count them here. Rent it as soon as you can.

En route to a party, Paul (Vincent Lindon) and Helene (Catherine Frot) encounter a speed bump when a woman throws herself in front of their car, begging for help. Having learnt not to pick up hitchhikers, they watch helplessly as she is beaten unconscious by several men.

Helene feels responsible for this stranger, whom she comes to know as Noemie, and spends much time with her at the hospital. But when she discovers that Noemie's life may be in danger, Helene sneaks her out of the hospital posing as a nurse.

Taking her to her mother-in-law's country home to recover, she learns of Noemie's tragic story. Brought to France from Algeria by her father, she chooses a life of prostitution after her dad sold her down the river to an Algerian man.

This movie tells me how prostitution works in France and its similarities in the prostitution that's been happening in our country.

This is a funny and fast-paced movie. I would have enjoyed it more if I can only understand the French language.

What impressed me more than anything about "Chaos" was the energetic acting. The two female leads seem absolutely driven in their portrayals, and it's a good thing, because their characters need all the energy they can get to cope with the whirlwind of savagery and plot twists in this terrifically entertaining (though sometimes hard to watch) film.

The only thing I disliked in "Chaos" was the cardboard portrayal of the husband. Though I consider myself a Francophile and have long enjoyed French films, I find French farce heavy-handed and really hard to take--and this role was handled farcically. But that's perhaps a cultural quibble, and overall I was greatly impressed by the film.

Highly recommended, but not for the squeamish.

I saw this movie in Paris last year (2001). It is a delight. It maintains a modicum of comedy around a very violent and wrenching subject. It begins with a young prostitute fleeing for her life after practically being killed from a beating. France has a large Arab population. The young lady happens to be Arabic. This film plays on this clash of cultures and also plays on the clash between the sexes. I highly recommend it.

It's funny; the two best films I've seen this year (sadly, CHAOS has only just made it to the Midwest United States in 2003), are both from France. Not only that, but none of the American films I've seen thus far even come close to this or Gaspar Noe's IRREVERSIBLE. Maybe we should rethink that stupid freedom fries thing and go seek out some real culture. CHAOS is a great film, a film that wastes no time. It starts with a bang when an Algerian prostitute named Noemie begs for a ride from Paul and his wife Helene as they drive by the scene of her merciless beating at the hands of three pimps. Paul locks the doors and, after the pimps have gone, leaving Noemie unconscious, gets out of the car only to wipe the windshield clean of the inconvenient blood Noemie has spilled upon it. A perfect opening to this film, showing the frailty of women at the hands of dominating men, and the inhumanity and selfishness of said men. As a human of the male persuasion myself, I was surprised to not feel any resentment toward the film's representation of manhood. It does not try to convince the viewer that all men are like this; just all the men in this film. At the same time, many men might feel uncomfortable at the incisiveness of the film's characterizations. At one point Helene says, "Not all men are bastards"; Noemie merely shrugs and smirks ever so slightly. It is more telling than a thousand words.