murder - FilmRoot

Man Bites Dog (Belgium) – Help Out an ‘Affectionate and Sweet’ Murderer

Man Bites Dog Film Difficulty Ranking: 2

This may well be the darkest comedy there is. You may not agree at first, but you probably will by the end of the film. And you’ll probably feel like a murderer for watching it! This is one of the ultimate mockumentarys!

Why Watch Man Bites Dog?

If you like dark comedies – and when I say dark, I mean it!
If you like docu-fiction films (see Battle of Algiers or Che)
To learn how much ballast you need to sink a corpse
For a murderer’s ode to pigeons – actor Benoit Poelvoorde is crazy

The Breakdown

You’ll get an idea of what kind of a film this is from the opening. It starts with what looks like a normal scene. A man on a train is standing by the window as a woman walks past him along the corridor. However, as the man moves out of the way to let her pass, he rings a rope around her neck, forces her into a cabin and strangles her.

As you’ll quickly realise, this is not a serious film. However, you also won’t be surprised that it was highly controversial when it was released in 1992 (two years before Natural Born Killers).

Straight after the brutal opening scene, we meet Benoit (the murderer) again. This time, he is talking to the camera and telling us how to properly ballast a corpse so it sinks. Remember, ‘you need to ballast a dead body with 3 times it’s body-weight, and 5 times for old people as their bones are even more porous’ (Benoit’s quote, not mine).

The mockumentary style (mock documentary) makes the film even more real. Benoit looks straight at the camera a lot, and therefore straight at us. As a result, we are forced to get close to him and pushed towards identifying with him. The intimacy is stretched even further as we are introduced to his family and friends, who all say what an ‘affectionate and sweet’ person he is. But every time we start to get comfortable with him the director reminds us of his violence. For example, in one scene he starts playing with a few kids in a park making him appear normal, but the director quickly cuts to a montage of him murdering innocent people to remind us that he is a murderer.

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Conclusion

Man Bites Dog is provocative. But it’s also clever. It plays with us throughout the film, encouraging us to get close to a murderer before brutally showing us images that are undeniably wrong and shocking. There’s also a pretty meta commentary on both the moral obligation of the film-makers and the audience. Are the film-makers and us morally wrong for making/watching this film?

Either way, for more, I’d recommend checking out Oliver Stone’s Natural Born Killers (with a young Woody Harrelson leading). Also check out Behind the Mask for a horror movie equivalent.

Layla Fourie (South Africa) – How Long Can You Hold a Lie?

Layla Fourie Film Difficulty Ranking: 3

Up for a slow-burning thriller with racial undertones? Here’s Layla Fourie, a young single mum in South Africa trying to earn an honest living. Unfortunately for her, an accident may derail all hopes of a normal life.

Why Watch Layla Fourie?

You like a good slow burning thriller
For the excellent acting of Layla’s son!
To hear one of the best (and simplest) interview questions
To continue exploring South African film (check out Tsotsi and District 9 first)

The Breakdown

Layla Fourie starts with what sounds like a doctor quizzing a woman about her health. Does she drink alcohol? Sometimes after work. Has she driven under the influence? Strange question for a doctor, but no. As the person asks her another question (has she ever lied?) the camera shows a lie test followed by a black hand tied to a pulse detector. It’s all part of a job interview, but it seems more like an interrogation. Luckily for Layla Fourie, she’s all lie-free.

However, at night the first piece of foreshadowing spells trouble: a car crash outside Layla’s apartment. The next night, whilst driving in the early hours of the morning with her young son, Layla is lost. She is obviously disorientated, she has to stop to look at a map and keeps flicking her headlights on and off (which doesn’t help clear up the darkness of the night). A few minutes later her son wakes up from a slumber and distracts her enough to crash into a man whose car has broken down.

Now it’s Layla’s time to lie. She becomes more suspicious of everyone and much less assured. Can she get away with what she’s done or will she be found out?

Conclusion

Whilst some of the coincidences seem a little bit too contrived, the film does keep up the tension for a lot of the film. If you’re into thrillers, especially those that delve into racism, then this film might just be for you.

Wild Indian – Sundance Film Festival 2021

Wild Indian kicks off with a scene of a dying Indian covered in small pox ‘some time ago’ before it jumps forward to the 1980’s. The scene contextualizes the trauma of the present, experienced by two friends, Mukwa and Ted-O, situating it within years of pain, suffering, and oppression. It shows that the cycles of trauma are nothing new for this Ojibwe community, and the Indigenous community as a whole.

Moving forward to the scenes in the 1980’s, the trauma is inflicted on the children by their parents. Mukwa’s dad is ruthlessly violent, beating him up each night for nothing, whilst other kids are raised by parents lost to their drunkenness. Thanks to his Dad, and we can infer thanks to the generations above his Dad, it’s the trauma he inflicts on Mukwa that turns him violent. And whilst Mukwa’s not violent towards his son later in the film, his lack of warmth indicates that his trauma will be passed on. All of this stems from the widespread suffering of the Indigenous community referenced in the opening scene.

Mukwa tries to escape his trauma by exiling himself from his roots. He changes his image, becoming ‘Michael Peterson’ and cuts his hair. He goes all in on white corporate culture – becoming a wealthy businessman that plays a lot of golf, lives in California, and has a trophy white wife. The only signs of pride in his heritage is an overcompensation of Indigenous art on the walls in his house. Otherwise, he appears like a different person. His life contrasts strongly with his old friend Ted-O, who carriers his identity tattooed on his face and neck as he’s released from prison. Despite appearances, Ted-O is the warmer character. He makes time to bond with his nephew, whilst Mukwa shuns his wife and son.

Mukwa is one sinister character. He’s created brilliantly through Michael Greyeye’s acting and the style Lyle Corbine (the director) imbues into the film. The atmospheric music, that plays behind most of Mukwa’s scenes, combined with the slow camera movements (slowly creeping right to left and zooming in) creates a sense of eeriness surrounding Mukwa from the start. It reminded me a lot of the slow burn thrillers of David Fincher.

There’s also one recurring image that the director uses to create a lot of tension. He captures Mukwa’s evil side in moments where he has people’s lives in his hands – such as holding a knife by his sleeping father, and aiming a gun at his friend. Throwing these shots into the early part of the film makes us fear Mukwa’s unpredictability. It feels like he’s going to lash out violently and get revenge for the trauma inside him. This unnerving unpredictability makes him and the film so hard to look away from.

If you’re looking for a slow burning thriller along the lines of David Fincher’s Gone Girl with an unpredictable character like Pablo Larrain’s Tony Manero, set within the Indigenous Ojibwe tribe, Wild Indian is the film you need to watch this year.