Kévin Mischel in Out Of This World Photo: Bulldog Film Distribution
Marc Fouchard’s Out Of This World (Hors Du Monde) is one of those films which will blow you away when you first see it, and which you will hesitate to watch ever again. It’s the story of Léo (Kévin Mischel), a shy, emotionally damaged man who seems constantly uncomfortable with the world around him. He finds relief only in composing music, and in killing, which gives him inspiration – but this is very much unlike most serial killer films. There is no glamour, no sense of power, no sexual titillation – just sadness and brokenness. When Léo meets a young deaf woman, Amélie (Aurélia Poirier), who is a dancer and listens to his music by pressing her face against the door of his taxi, he is intrigued by her, and a tentative relationship begins – but can he control his compulsions?...
Marc Fouchard’s Out Of This World (Hors Du Monde) is one of those films which will blow you away when you first see it, and which you will hesitate to watch ever again. It’s the story of Léo (Kévin Mischel), a shy, emotionally damaged man who seems constantly uncomfortable with the world around him. He finds relief only in composing music, and in killing, which gives him inspiration – but this is very much unlike most serial killer films. There is no glamour, no sense of power, no sexual titillation – just sadness and brokenness. When Léo meets a young deaf woman, Amélie (Aurélia Poirier), who is a dancer and listens to his music by pressing her face against the door of his taxi, he is intrigued by her, and a tentative relationship begins – but can he control his compulsions?...
- 12/10/2022
- by Jennie Kermode
- eyeforfilm.co.uk
The psychotic male with a poetic side is an old saw, but director Marc Fouchard brings some original and freshly disturbing touches to it
This artfully made, borderline-despicable French drama revolves around Leo (Kévin Mischel), a brooding, lonely taxi driver with cheekbones sharp as dressmaker’s shears, a secret talent for musical composition, romantic longings for pretty dancer Amélie (Aurélia Poirier) and the uncontrollable urge to kill women. Whether he actually does that or not isn’t clear at first, since scenes where he murders one woman turn out to be fantasies … or are they?
In a way, this film seems to not care either way because it’s essentially much more interested in Leo and his mental anguish: anguish that is seeded by a former chanteuse mother (Dominique Frot) who beat him when he was little. The whole handsome-tragic-murderer shtick is one we’ve seen before in an assortment of films,...
This artfully made, borderline-despicable French drama revolves around Leo (Kévin Mischel), a brooding, lonely taxi driver with cheekbones sharp as dressmaker’s shears, a secret talent for musical composition, romantic longings for pretty dancer Amélie (Aurélia Poirier) and the uncontrollable urge to kill women. Whether he actually does that or not isn’t clear at first, since scenes where he murders one woman turn out to be fantasies … or are they?
In a way, this film seems to not care either way because it’s essentially much more interested in Leo and his mental anguish: anguish that is seeded by a former chanteuse mother (Dominique Frot) who beat him when he was little. The whole handsome-tragic-murderer shtick is one we’ve seen before in an assortment of films,...
- 11/29/2022
- by Leslie Felperin
- The Guardian - Film News
Marc Fouchard's bleakly compelling tale of obsession and violence has the distinction of being the finest piece of filmmaking in 2021's Glasgow Film Festival Frightfest selection and a film that you are unlikely ever to want to watch again as long as you live. It's an elegant example of cinematic portraiture but the picture it paints is of a man you really won't want to know.
If it's painful to watch Léo (Kévin Mischel), it's also painful to be him. He's so ill at ease in the world that he has retreated from it emotionally to a place where he can barely communicate with others, the chat he offers in his work as a taxi driver purely performative and shallow. The only time he seems to feel any satisfaction is when he is composing music (ethereal work created by Pascal Boudet and Cyesm), but his inspiration comes at a high.
If it's painful to watch Léo (Kévin Mischel), it's also painful to be him. He's so ill at ease in the world that he has retreated from it emotionally to a place where he can barely communicate with others, the chat he offers in his work as a taxi driver purely performative and shallow. The only time he seems to feel any satisfaction is when he is composing music (ethereal work created by Pascal Boudet and Cyesm), but his inspiration comes at a high.
- 3/7/2021
- by Jennie Kermode
- eyeforfilm.co.uk
"You have to dare to be rich." Netflix has debuted a trailer for a French film titled Divines, which won the Golden Camera (or Camera d'Or) at the Cannes Film Festival - the top prize for a first-time filmmaker. Uda Benyamina directs this coming-of-age film about a teen from the slum streets of Paris who meets a dancer that changes her life. Oulaya Amamra stars as Dounia, the girl at the center of the story, with Déborah Lukumuena, Kevin Mischel, Jisca Kalvanda, Yasin Houicha, Majdouline Idrissi & Bass Dhem. I always admire French coming-of-age films because they have contain a unique perspective on growing up that's different than what I'm used to, and there's always something to pick up. This looks like a great film. Here's the official Us trailer (+ poster) for Houda Benyamina's Divines, direct from Netflix's YouTube: The funny, suspenseful and often emotional drama tells the story of Dounia,...
- 10/5/2016
- by Alex Billington
- firstshowing.net
Quick takes from the 60th London Film Festival, with public screenings from October 5th-16th, 2016.
Spaceship
I’m not much of a fan of experimental films, but there’s a quality of dreamy questing in Spaceship, the feature debut of British writer-director Alex Taylor, that I found intriguingly wistful. The teenagers who live around an army base in suburban England whisper stories about alien abductions, and then Lucidia (Alexa Davies) goes missing in a dazzle of colors and flashing lights, as witnessed by a friend. Her lonely widower father, Gabriel (Antti Reini), searches for her and her friends speculate about where she has gone, but this isn’t a science-fiction mystery, and no one seems particularly worried about her. The plotlessness and general lack of specific response to Lucidia’s disappearance becomes an avant-garde fug that frustrated me, but I quite enjoyed the overall sense of Lucidia’s friends and...
Spaceship
I’m not much of a fan of experimental films, but there’s a quality of dreamy questing in Spaceship, the feature debut of British writer-director Alex Taylor, that I found intriguingly wistful. The teenagers who live around an army base in suburban England whisper stories about alien abductions, and then Lucidia (Alexa Davies) goes missing in a dazzle of colors and flashing lights, as witnessed by a friend. Her lonely widower father, Gabriel (Antti Reini), searches for her and her friends speculate about where she has gone, but this isn’t a science-fiction mystery, and no one seems particularly worried about her. The plotlessness and general lack of specific response to Lucidia’s disappearance becomes an avant-garde fug that frustrated me, but I quite enjoyed the overall sense of Lucidia’s friends and...
- 10/4/2016
- by MaryAnn Johanson
- www.flickfilosopher.com
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