By Blitzwing.
We are introduced to Max (Gob) living in a wood cabin in the middle of a forest. We learn little of Max with the exception that he must be hiding something. A deduction to be made from long vacant looks into nothingness. Whilst out playing golf on his lonesome he comes across a young woman (Coppejeans) covered in blood and unconscious. He does what any normal person would do in this situation. Take her home, take care of her and fall for her.
Giving the mute girl the name Bianca. The pair begin to bond until one night Bianca runs away when Max catches up to her he discovers her cannibalising a man whilst having sex with him. Max is understandably perturbed by this. But takes Bianca home. The next speed bump in the relationship comes along as dubious mobsters and assassins come to take Bianca away, leading Max into a dangerous underworld he was desperate to avoid.
When sitting down to watch Cannibal, actually it was more like a perch what I was doing anyway, I was expecting some kind of low grade torture porn flick that balanced between Hostel and Matyrs. It was a great relief to discover that Cannibal is neither of those things. Despite being marketed as a horror it comes closer to a psychological drama, the first half playing like a mystery. There is virtually no dialogue for the opening fifteen minutes. We are introduced to Max who we can ascertain is a damaged person. For what reason we come to understand later on. Needless to say he’s the quiet type. With the arrival of “Bianca” he is virtually a mute, the relationship is left to play out through knowing stares and physical interaction. It’s a complicated relationship that director Vire does not trivialise by spoon feeding us trite dialogue.
Most of the talking is done by the gangsters who are searching for Bianca. There is some disturbingly light-hearted chit chat about murder and general violence that wouldn’t be out of place in The Sopranos. That being said these scenes stay just the right side of menacing without falling into gangster stereotype. As the film progresses, we learn just how lethal these men. Bianca is clearly something of a prized possession to them, as they take her away from Max. Apart from knowing that she likes to eat people during coitus – which we get a chance to see a couple of times – we are left to ponder exactly how they use her talents.
The second half of the film moves away from both the woods and from colour. In a move that feels a little student film-like, Vire turns the film black and white as Max heads into the city to find Bianca. Maybe it’s to highlight the decay of the city against the woods. Maybe it’s to show Max’s state of mind on his hunt for Bianca – everything is right or wrong. Could just be that it “looks super awesome!”. It’s also back in the city that we start to uncover more of Max’s own murky past and find out the truth about what it is exactly Bianca is used for. I won’t spoil it, but I was unpleasantly surprised to see what it was.
As said earlier Cannibal has it’s horrific moments but is certainly not a horror film. To some viewers it may seem like a cliched “European psycho-horror” where nothing actually happens (as someone described it to me). What it is thought is a surprisingly effecting love-story featuring some really fucked up people. The relationship between Max and Bianca is genuinely touching in places. Watching these two very damaged people find comfort and love with each other is heart warming. Watching them torn apart is just as upsetting. That being said, in the scenes after it’s revealed she is a cannibal it is amazing how quickly Max comes around to the idea and begins a sort of Cabinet of Dr. Caligari mission for her.
Vire does a great job of keeping the atmosphere tense throughout. Not so much, edge-of-your seat but you are always aware that violence is just around the corner for our protagonists. The woodland scenes do not appear too dissimilar to the woods in AntiChrist and the city landscape resembles that of La Haine, industrial inertia and grimy corridors abound.
The central performances are strong all round. Coopejeans has just an angelic quality whilst still conveying a sadness which all but consumes her. Gob is for the most part subdued but is clearly trying to keep a rage down that only releases itself toward the end, making it that bit more effective. If you’re on the look out for an horrid and at times disturbing look at doomed relationships watch Made in Chelsea. All others should watch Cannibal.
Cannibal ****
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