Linkeroever

The director sure spent most of his effort on the sex scenes, leaving the "horror" to be filmed in a shaky, dark, style.

This was not a scary movie, as a matter of fact, not much happens in the first half at all, except for a very gratutitious sex scene. Lots of sex scenes, and nudity.

Not much horror. Meh.

My beloved Belgium country hasn't got much of an impressive history when it comes to horror cinema, but at least there have always been enthusiast and visionary directors that tried to make a difference. Back in the 70's there was Harry Kümel (whose movies "Malpertuis" and "Daughters of Darkness" are highly desired and acclaimed cult-collector items nowadays), then there's Jan Verheyen (who also hosts horror movie screenings on Belgian TV) and since recently we have Pieter Van Hees. Van Hees is an extremely devoted fan of the genre, as it is illustrated in his absurdly grotesque and engrossing short movie "Black XXX-Mas" as well as in this slow-brooding and atmospheric thriller "Linkeroever". The title literally means Left Bank and refers to a very well known living area in Antwerp. It's a reputedly "troubled" area since the Middle Ages already, with dark historical secrets and mysterious inhabitants, and thus the ideal setting for a sinister story. Marie is a young and talented but introvert athlete who suddenly falls ill and gets forced to cancel her participation in a prominent European tournament. She moves in with her new boyfriend Bobby and, mostly out of boredom, begins to investigate the mysterious unsolved disappearance of the previous tenant. I don't want to reveal too much about the complex and extremely unsettling story, but the script hints at horrific elements such as human sacrifices, reincarnation, pagan rites, excommunication, witches and super massive black holes. "Linkeroever" is basically a typical folklore tale, but set in a present day social environment and decorated with style & content elements that are borrowed from similarly-themed international horror classics like "The Wicker Man", "Blood on Satan's Skin" and "Rosemary's Baby". Pieter Van Hees generates a depressing and constantly grim atmosphere through simple tricks (autumn weather conditions, pauperized living areas…) and patiently takes the time to unfold the story and draw detailed character portraits. The denouement isn't that difficult to predict – especially not when you have experience with occult horror – but it nevertheless evokes a handful of genuine chills and nightmarish afterthoughts. Considering the fairly low budget and overall tense ambiance of the film, you shouldn't hope for a lot of bloodshed, though. Van Hees could rely on a professional crew as well. The photography, editing and musical guidance are damn close to brilliant and, following good old Belgian traditions, the film contains several dared but tasteful and quintessential sex sequences. Eline Kuppens is simply fantastic in her screen debut and she carries the entire motion picture like it's the easiest job in the world. She's a natural beauty with the talent and perseverance to make it even in the international film industry. Kuppens receives excellent support from the handsome young actor Matthias Schoenaerts and a couple of Flemish TV-screen veterans like Marilou Mermans, Frank Vercruyssen and Sien Eggers. Recommended for anyone who can speak the language and fundamental viewing for all Belgian film freaks.

It took me 8 years to see this flick which in fact started the fame of Matthias Schoenaerts. He's leading here in this dark supernatural flick. I was lucky to have worked with him just before he left for Hollywood so I'm happy he signed this DVD. But back to this flick. Not only is Matthias above mediocre, the girl (Marie) he met is played by Eline Kuppens, not that famous but she also delivers the best.

The supernatural thing going on is the fact that Marie get injured while running in the woods. Her knee is damaged and slowly that knee decides her life. She falls for the smooth talking Bob (Schoenarts). They have sex everywhere they can have it and it's shown, both go the full monty.

It's towards the end when Marie is solving the puzzle that the supernatural comes in. The ending is an enigma, nothing is really explained.

Nice editing and shooting and the score do adds something special to the atmosphere. I can understand why this flick can be found at a lot of horror conventions. But if you want the original DVD that came out in Belgium you will have to search really hard, it's OOP. Luckily elsewhere in the world it's sold as Left Bank. A must see.

Gore 0/5 Nudity 2/5 Effects 2,5/5 Story 3/5 Comedy 0/5

The synopsis for 'Left Bank' sounded interesting to me, and with my intentions to start watching more European films I decided to give this one a go. Unfortunately the synopsis, while ultimately accurate, isn't really a good indication of what the film is like. The problem for me was that the main character 'Marie' didn't really know that anything was amiss - and so there was no mystery. If she's not solving a mystery, how can we be?

I also found the film quite dull for large parts through the middle. The characters were so bland that couldn't carry anything, and all that was left was the story. There was a little bit of intrigue in that respect, but not enough. This is a very sexual film. Some very explicit sex scenes and a lot of nudity.

I don't even know really how I'd describe this film to someone. It's a hard film to put in a genre. Because ultimately it's intended as a horror, but when you think back on it there isn't a lot to actually support that. Whatever it falls into though one thing's for sure - I won't remember this film a week from now.

A kind of Rosemary's Baby meets Dark Water, Left Bank unfortunately has more in common with the latter's fascination with mood over a new or just tightly cogent story. Left Bank is better than most J-horror remakes but takes too long to get to the genre trappings it ultimately relies on. The lead, Eline Kuppens, is believable as an athlete and is competent in her acting but doesn't have any real screen charisma. The role really requires the European counterpart to a Mia Farrow or Naomi Watts, especially in the long opening section which plays more as a psychological thriller than horror film. That too is a problem: the story, which is neither terribly new or frightening, just takes too long to admit for all its psychological tension, it's nothing more than a horror pic. As such, it fails to deliver a truly quirky scenario and strikes out totally when it comes to real scares.