Katell Quillévéré's family-based drama follows Suzanne, a teenage mother who falls for a gangster
Antonio Campos' equally disturbing follow-up to Afterschool (2008) observes a young American Euro-tripper unleashed onto the hunting grounds of Paris.
"My thesis project was about peripheral vision. It dealt with something called crowding and size pooling. The width of one object is given a weighted average of the objects around it... It's published, actually."
Repeated several times with a hesitant modesty that looks increasingly rehearsed, these words contain within them a key metaphor for the effect of Simon Killer on the viewer. For just as Euro-tripping New York postgrad Simon (Bradley Corbet) might never stand out or be noticed but for the camera's unrelenting focus on him, so too the film itself, when viewed by a casual eye, might seem just another breezy intercontinental romance or backpacking rites-of-passage indie. For Simon, set adrift by his recent breakup with a long-term girlfriend back home, goes on a formative journey of self-discovery in Paris, soon entangling himself with two very different, but equally short-sighted women from the City of Love: the myopic prostitute Victoria (Mati Diop) and the nystagmic literature student Marianne (Constance Rousseau).
Yet the truth, hinted in the film's title, in the central casting of Corbet (Funny Games), and in the blankly uncompromising filmography of writer/director Antonio Campos (Buy It Now, Afterschool), is that Simon Killer is a close character study of disconnection verging on, and then beyond, sociopathy, as our craven antihero lies, cheats and manipulates - and worse - to get what he wants. At first Simon is shot from a cool distance, but once the camera starts fluidly tracking him (as he tracks others), all to the jungle rhythms of his personal stereo, there emerges a portrait of a pathological predator. His mother may nickname him 'fox', and he may prefer to see himself as a lion – but most disturbing is how easily Simon passes for human, blending in unnoticed with the crowd.
Alienation, anomie, angst, affectlessness, electropop – Antonio Campos' coolly undemonstrative second feature brings into gradual focus an American (sociopath) in Paris.
BIFA-nominated films including the Film4-backed 45 Years, The Lobster, Macbeth, Amy and Ex Machina will be available in cinemas nationwide from 23 November in a special public screenings event. The
Film4 has received a total of 41 nominations for the films it has backed at this year¿s British Independent Film Awards (BIFAs), with the nomination lists for the Best British Film and Best Director a
A summary of the critics and film professionals who voted for the top 50 Horror films of the 21st Century
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@Film4 RT @SightSoundmag: The top 20 #BestFilms2015, as chosen by 168 critics from around the world: https://t.co/jc2Q7YckUg https://t.co/pcHpb8fi…
@Film4 RT @SightSoundmag: 7. 45 Years https://t.co/BfgiqnpIXb #BestFilms2015
@Film4 RT @SightSoundmag: =9 Amy https://t.co/BVlbkcR5rF =9 Inherent Vice https://t.co/yKQt4bczpZ
@Film4 RT @SightSoundmag: 2 Carol https://t.co/uKZSrVb1IE #BestFilms2015
@Film4 RT @SightSoundmag: Time for our #BestFilms2015 poll results! This year we polled 168 international critics, and got a poll more diverse tha…