With RKO's horror films, Van Lewton, discovered a new cinematic terror, darkness, what you can't see. Now artificial intelligence, the metaverse, can create a reality that stalks you in an empty space, the invented reality, which can be an advertisement in which you end up hit by an invisible car or an acting test for a film in which you defend yourself with a knife from you really don't know what. Or it is a reality manufactured to satisfy our dreams, to erase misfortunes, to disguise that "other" reality in which our expectations are not met.
A world in which the objective is not to suffer, not to desire, to achieve an emotionally stabilized, more productive life, without error in decisions; a world where emotions are better left for dreams and that creates past lives tailored to your dreams, lives in which what goes wrong can always be eliminated, reworked into a better dream. A world in which the proof that you do not exist is that you have no digital footprint on the internet (well, this is no longer science fiction).
The protagonist is a pianist from the beginning of the 20th century who does not dare to abandon her husband and start a relationship with the man she has fallen in love with, because she has the feeling that a strange misfortune will destroy her or her lover if she does (again as in the RKO Cat People classic).
She is an aspiring actress model at the beginning of the 21st century, strangely incapable of maintaining the romantic relationship she needs, who makes a living taking care of other people's homes, just now a very luxurious one), in a world in which, once again, she finds herself, surprisingly, with the same man she always falls in love with, now another young man unable to dare to maintain a relationship.
Time and time again things seem to put love within reach, but for whatever reason, those realities end up being somewhat tricky, and readjust themselves until tragedy always arrives.
The protagonist is also (especially?) the young woman of a future with empty streets, advised by artificial intelligence, whose friends are robot dolls, and who wears virtual reality glasses. This young woman is dissatisfied with her job, unable to promote to a better one for being too human, and does not know whether to opt for an erasure of her past lives and eliminate traumatic experiences, at the risk of... ceasing to be herself. She is a young woman for whom that ataraxia is not really atractive, who does not want to renounce to imperfectly authentic emotions, and in that world of the future...there is that nightclub that dresses up in a different decade style every night, and where she surprisingly finds again the young man with whom she is obsessed.
La Bete is clearly indebted to the universe of David Lynch, especially Inland Empire and its matryoshka game (dolls within dolls, realities within realities), although now explained for all audiences and with a bath of conventionality, without the background, authenticity nor the infinite number of interpretations of Lynch (and certainly without his poetry), a safer and less authentically unsettling territory. We also get the awakening of Mulholland Drive, Roy Orbison's songs as in Blue Velvet, and even Laura Palmer's final scream.
There is also something of the existential terror of Blade Runner (or Do Androids dream of electric sheep?) and we could continue with many other borrowings.
But the truth is that these three hours fly by and keep you continually intrigued in a plot that never gets lost in ramblings and that likes to tie up all the ends. An intelligent science fiction film, with a very attractive and careful aesthetic, and which benefits from the magnificent performance of Léa Seydoux.
