Taraneh Alidoosti stars in a gripping, award-winning mystery-thriller from Oscar-winning Iranian writer-director Asghar Farhadi.
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.
We grabbed five minutes with Jim Gillespie after his Edinburgh International Film Festival directing masterclass to put five burning questions to the man behind I Know What You Did Last Summer, whose
Principal photography has commenced on Dark River, the third feature film from writer/director Clio Barnard (The Arbor, The Selfish Giant), starring Ruth Wilson (The Affair, Saving Mr Banks), Mark Sta
The best all-singing, all-dancing showstoppers every committed to screen
A summary of the critics and film professionals who voted for the top 50 Horror films of the 21st Century
@Film4 “You don't know what you're dealing with.” At 10.45pm, Danny Glover & one big ugly mother star in Predator 2. https://t.co/y9u2pUYfjo
@Film4 In an hour at 10.45pm, the ultimate hunter has a few days to kill in LA in Predator 2. https://t.co/3HDrUpfzUM
@Film4 RT @nancyandpeter87: @film4 is showing #RoboCop @SomersetHouse 6th August (https://t.co/0D50vU4Knj)😊Pics/@CineplexMovies @GoAnthonyTaylor h…
@Film4 Fantastic Mr Fox was nominated for 2 Oscars back in 2010: Best Animated Feature and Best Original Score. #OscarTally
@Film4 Behind the scenes of Fantastic Mr Fox with Wes Anderson & chums https://t.co/VzhJz8c1hz