Maldoror

I know it should be called "if you can" ... and I reckon that would have worked too ... but I decided to go that way ... still no pun intended. The movie is based on a real story - and me not having any idea what happened back in the 90s ... and from what I understand this takes a lot of creative licenses ... with who did what to whom ... who survived and who didn't ... and I assume the main character (police/gendarmerie) is an amalgamation of many characters into one - I could obviously be wrong, but I would not be surprised if that was the case.

That said, the movie might be long (2,5 hours), but it never really feels that way. Well maybe during the wedding stuff at the beginning ... been there, done and know that. Greeks party similar - like the Italians ... is this necessary for the story? I would argue not ... but maybe I am missing something.

The thrilling part is really well done ... you feel with the main character ... a lot of things go wrong ... he has the right eye, he has the right "nose" ... but will he be able to convince others of that? A lot of departments working almost against each other ... this is well told and acted ... still for me a factor x is missing to make this go over the top ... as many praises as it has gotten ... and as good as it is ... the last push is missing ... a bit more charisma maybe ... more tension throughout ... and so forth.

From Belgium comes the new film by one of Europe's most exciting directors today. Fabrice Du Welz recounts one of the crimes that shocked all of Belgium in the 1990s. Based on the brutal murders, rapes, and kidnappings of Marc Dutroux.

The director brings a truly cruel tale to the screen, but intensifies it with a personal look at a young police officer, whose personal story he takes the time to fully present in order to understand his direction throughout the investigation. By making this decision, the director delivers an excessively long film that, despite its 155 minutes, doesn't become tedious, but does feel somewhat redundant in certain areas.

It relies on its cast, who are fully committed, especially Anthony Bajon, who intensely takes hold of his character and demonstrates his talent for delivering raw moments with just a glance. An actor who is quite dedicated in his performances, he makes the most of it here. Along with Sergi López as the cruel man of the show, in a performance worthy of one of Spain's most chameleon-like actors, Alba Gaïa Bellugi, the iconic Béatrice Dalle, and Laurent Lucas also stand out.

Fabrice Du Welz's work is daring, but not explosive. While incisive at times, it doesn't emphasize cruelty to intensify the evil hidden throughout the story. Its director chooses, with mere glances and silences, to make us part of the cruelty hidden by a ruthless and inhuman killer. The mounting tension, the moral dilemmas that cross the line, and the personal consequences address a first-class drama in a solid film that grips you, envelops you, and slaps you in the face in equal measure at every moment.

A great film worth seeing, understanding, comprehension, analysis, and reflection on. A crime that still moves a Belgian society that's learning from its own mistakes, and the film emphasizes the things that went wrong with a bit more dramatization, but ultimately with a touch of reality. A more than interesting filmmaker who positions himself as truly passionate about bringing us closer to human cruelty.

Viewing at IFFR (I pet the director's dog)

6.5/10

The second half was pretty good. The lead character seemed better in his role and the camerawork was more suitable. A few moments were a great thrill because of the use of sound, music and different angles. Very well done.

Not too sure about the first part. The camerawork was too messy. Didn't feel like it was a serious movie about child molesters. Felt like a cheap thriller. The wedding felt a little ridiculous and I didn't think the lead character could carry a movie like this. I thought: bad casting, but, luckily, it got better!

Still not sure about the fiction part. Feels like I'm not taking this movie serious because of the partly fictionalized story. I doubt that would be the intention.

I grew up in Charleroi, along with this story and for a long time, it left me with a sense of disgust.

This film, however, is a fiction 'inspired by the reak events, not a documentary. I appreciated the creative liberties taken with the real story as well as the beautiful depiction of the setting.

Watching it made me realize just how photogenic my childhood city is and how warm ans vibrant its people are.

As for the negative reviews, they likely come from people who lack an understanding of cinematic art or the complexities of this period in our lives.

Maldoror succeeds in capturing both the soul of the city and the emotional depth of its story.

In 'Maldoror', director Fabrice du Welz tackles one of Belgium's darkest pages in recent history. The abduction and death of several teenage girls by Marc Dutroux caused a national trauma in 1996. The fact that local police forces and criminal investigators hardly cooperated during the investigation, may have cost the girls their lives. This failure led to a thorough reorganisation of law enforcement.

The movie tells the story from the viewpoint of a police officer, Paul Charlier, who searched the cellar where the girls were hidden. He heard them whisper, but couldn't find them because of the limited search warrant. These events happened in reality, but Du Welz mixes facts and fiction in his film. He portrays the police officer as a typical streetwise cop, who prefers his gut feelings over rules and procedures. Charlier knows he is right, but his superiors have other priorities. Ultimately, his perseverance and lack of respect for authorities lead to his downfall, the end of his marriage, but also to his ultimate moral victory.

The movie is at the same time an exciting police thriller and a character study of Charlier. His strong will is the result from his upbringing: his parents were far from law-abiding. He is determined to be 'on the right side', but for him hunting down criminals is what counts. If rules and regulations stand in the way, he ignores them.

Visually, the film is a joy to watch. The desolate industrial wasteland of Charleroi, where the abductions took place, is used to the maximum. Also, the hopelesness of the city, where unlawful activities seem to thrive, adds to the gloomy atmosphere.

The film documents an important part of Belgian history, and for those who followed the events at the time, it is an interesting interpretation. But some events are clearly fictional. In order to make an exciting police thriller with political elements, the movie abandoned historical accuracy.