He had offered her one of his finest roles at the end of his Worship. Fabrice Du Welz entrusts this time to Benoît Poelvoorde a character one would swear was written for himnamely Marcel, a writer who remained famous for his first novel. He moved in with his wife and daughter in a large house being renovated bequeathed by his father-in-law, a renowned publisher. It is then that Gloria, a shy young woman, arrives in town who befriends the girl, attracts the sympathy of the small family and quickly reveals herself to be a great admirer of her book.
The pitch, a variation of a narrative model (the upheaval of a family or community unit by a disturber or a disturber) already transcended by some great filmmakers, announces rather a pure psychological thriller. And Fabrice Du Welz, together with his co-screenwriters Aurélien Molas and Joséphine Hopkins, is not reluctant to exercise, far from it. Very well written, concise and devoid of any unnecessary embellishment, Inexorable above all abuses our nerves with remarkable rigorwhich makes it perhaps one of the most accessible of the director’s European feature films.
Us after the session
One could fear that by leaving the more rural, even natural environments, than by abandoning the breath of adventure and the lyrical contemplation that culminated in the masterful last shot ofWorshipit spreads in concessions. Nothing of that. Certainly more collected, almost at the antipodes of his previous film, Inexorable do not forget to track down the cruel beauty that resides in this fool’s game, in this trying descent into hell, and this thanks to a once again impressive formal mastery.
The director is once again paying for the services of Manuel Dacosse, one of the most valuable directors of photography in the French industry at the time, since he also participated, for example, in three feature films by Hélène Cattet and Bruno Forzani, as well as the magnificent Evolution by Lucile Hadzihalilovic.
Together, they persist in working on the texture of 16mm, to draw from it no longer a wild brilliance, but an American-style chiaroscuro of great beauty which, coupled with a few daring stagings, reflects the dark side of characters. Compared to the flat thrillers that come to us in packs of 12 on SVoD, the result is almost expressionist. Old-fashioned movies, but not necessarily nostalgicentirely devoted to the coherence of its effects and the torments of its protagonists.
A rather fascinating relationship
The discreet charm of the bourgeoisie
In the midst of a resurgence of the erotic thriller made in the USA, the fault of Deep Waters or others Voyeursand thanks to an efficiency rarely achieved by its representatives, Inexorable has in fact pilfered the transgression claimed by the genre. His scenario inevitably evokes very theoretical works (like… Theorem), but it is by taking on a much more sustained rhythm and more popular influences that it becomes poignant.
The gigantic residence in which most of the film takes place, already streaked with gray areas by photography, is quickly transformed into a symbol ofa cultural petty bourgeoisie in a vacuum. Under renovation, it contains many inaccessible areas and tarpaulins spread over the furniture, like so many blind spots in this family united by a slightly overrated literary prestige, so many layers of varnish destined to crack as soon as Gloria comes to interfere. within it.
There’s stuff going on in the hallways
As soon as she settles into this small, very classy family cocoon (the scene of the interview), she distills a palpable malaise that disturbs even the aesthetic clichés that are generally attributed to this type of situation. The traditional car scenes refuse to make the passenger compartment a place of comfort, thanks to the lighting and a play of reflections, the music is used against purpose… Its intrusion is total, and will completely upset the ‘existence characters much more fragile than they want to believe.
Hence the importance of the trio of actors and actresses, made up of Alba Gaia Bellugi, Mélanie Doutey and Benoît Poelvoorde. A trio who get drunk during the film, partly thanks to several meaningful dialogues, including before Gloria’s arrival. Doutey deftly captures a bourgeois character with haphazard generosity, while Bellugi brings all the false innocence necessary to the naive mess she embodies.
As for Poelvoorde, he has the good taste never to stray too far from his usual game, a mixture of cunning charisma and clumsiness that is after all very human. The role is extremely complex and demanding, but fits him so well that it inspires one of his best performances.
The last cog in a particularly well-oiled mechanism which should – in an ideal world – introduce a large audience to a cinema of quite refreshing sincerity and aesthetic ambition. We believe in.