Gina

What I like about this movie? First, the director goes to great length to make us care for the characters. Character development is excellent. The setting is good too. A small town in Québec, ruled by snowmobiles and beer drinking locals at the tavern. I like the documentary style used by Denys Arcand. Great way to show the exploitation of the people working in the textile industry. And great way to show the exploitation of the people, period. As the movie progress, we see that exploitation can take different forms. Gina is not too different from Dolorès, or from the four guys making a film, or from the hotel owner's wife for that matter. I also like the setting just before the gang-rape scene. When Gina is in her room and we hear the snowmobiles arriving. You can just feel the tension.

What I didn't liked about the movie? As for other Québec films, some scenes takes forever. I mean, do we really have to see an entire game of pool? Denys Arcand could have probably do this movie in 80-85 minutes, without missing anything.

Out of 100, I give it 84. That's good for *** out of ****. Seen at home, in Toronto, on December 17th, 2002.

In the 1970's, in Quebec, everybody's was making movies? Don't have a budget, don't have a story, don't have actors? Who cares? Let's make movies! There were good ones : Mon oncle Antoine, JA Martin photographe, Les Ordres. But there were the bad, and the very very very bad. The bad ones have all the elements of Gina : lousy French speaking, men drinking beer all the time, vulgarity, very cheap settings. Viewing this, it's hard to believe that Denys Arcand will become one of the finiest movie director of Canada in the 1980's. But it's got the elements of a Arcand film. Perhaps it was fine to watch this in 1974 : today, it's seems very old and very boring.

"Gina," a Canadian film from 1975, is a curious beast. On the surface, it ticks all the boxes of a typical rape-revenge exploitation film of its era. However, beneath the surface, it offers a unique and compelling narrative that explores broader ideas and themes.

The story follows the title character, Gina, a stripper who is sent to perform at a rural bar in the middle of winter. When she is brutally attacked, she embarks on a violent mission of revenge with the help of her pimp and their henchmen.

What sets "Gina" apart from its contemporaries is director and co-writer Denys Arcand's approach to the material. Arcand, known for his thought-provoking films like "The Barbarian Invasions," uses the exploitative elements as a hook to delve into deeper territory. The sex and violence are undeniably attention-grabbing, but they serve a greater purpose in this film.

"Gina" is an intriguing blend of arthouse and grindhouse. It's a film that challenges its audience, offering a unique take on the revenge narrative. The grit and grime of the setting and the brutal nature of the story are juxtaposed with a thoughtful exploration of human nature and the consequences of violence.

However, despite its ambitious approach, "Gina" falls short of being a truly remarkable film. While it has its moments of brilliance, the overall execution feels uneven. The pacing is often sluggish, and the tone veers wildly from one scene to the next. It is a film that keeps you engaged, but more in the sense of curiosity about where it will go next rather than genuine investment in the characters or their journeys.

That being said, "Gina" is worth watching for those interested in the evolution of exploitation cinema and its intersections with arthouse storytelling. The film's supplementary features, including interviews with Arcand and cast members, as well as a video essay by rape-revenge film scholar Alexandra Heller-Nicholar, provide valuable context and insights into the film's creation and impact.

In conclusion, "Gina" is a fascinating experiment in genre filmmaking that, while not entirely successful, offers a unique and thought-provoking experience.

Denys Arcand's "Gina" (1975) is a film that defies easy categorization. It's a vengeance thriller fueled by a brutal assault, set against the backdrop of a bleak Canadian winter and interwoven with a social commentary on labor exploitation. While undeniably compelling, "Gina" stumbles with uneven pacing and a tonal shift that may leave some viewers wanting more.

The film centers around Gina, a captivating yet vulnerable stripper (Céline Lomez), forced to perform at a seedy motel. Her arrival coincides with a documentary crew exploring the harsh realities of a local textile mill. Interweaving documentary and fictional elements, Arcand paints a picture of a community struggling with economic hardship. This social commentary adds depth, but can feel disjointed at times.

The narrative takes a sharp turn when Gina is attacked by a group of snowmobile-riding thugs. This brutal scene is unflinching and sets the stage for Gina's chilling quest for revenge. Arcand masterfully utilizes the desolate winter landscape, creating a sense of isolation that amplifies the film's emotional impact. However, the pacing can feel slow, particularly in the first act, as the film establishes its characters and setting.

The true strength of "Gina" lies in its exploration of female agency. Here's a woman wronged, who refuses to be a victim. She seeks out a notorious Montreal gang to enact her revenge, a decision fraught with danger and moral ambiguity. Lomez delivers a powerful performance, capturing Gina's vulnerability, resilience, and steely resolve.

The final act explodes with a brutal and bloody showdown, complete with a show-stopping snowmobile chase. This visceral sequence is undeniably thrilling, but feels somewhat tonally incongruous with the film's more measured social commentary.

"Gina" is a fascinating and flawed film. It's a must-see for fans of Canadian cinema and those interested in a unique take on the revenge genre. However, viewers seeking a consistently paced and tightly focused narrative may find themselves wanting.

Unlike many of my fellow Quebecers, I am not a fan of acclaimed director Denis Arcand, so I hesitated for quite some time before viewing this film

I'm not sure what led me to watch 'Gina,' but I can tell you that it caught me off guard, especially since I was expecting for a drama rather than a 'rape-revenge' movie.

The rape scene is remarkably effective because it's shot in real time without any music to add unnecessary tension, and because there's no indication in the first hour of the film that such a scene is going to happen.

Arcand's understated direction is appropriate, and most of the performances are very good, including Claude Blanchard, who, in my opinion, is a very poor actor.