The Beast review: a gonzo sci-fi movie with a touch of David Lynch Score Details “The full galaxy-brain ambition of The Beast could not be anticipated.
” Pros Cons For Bertrand Bonello , movies are like rubber bands: They’re meant to be stretched as far as they’ll go. The Beast, the French writer-director’s latest, spans eras, continents, languages, and genres. It is, at minimum, three movies in one, with enough preoccupations for many more still. Bonello loves to collapse time and space.
The movie opens on a soundstage, a backdrop of green, in what turns out to be a flashback of sorts. The present tense of The Beast is the future — specifically, a serenely dystopian 2044 controlled by AI and defined by a willful movement toward dimming emotion. Bonello’s conception of this bleak world is suggestively sparse: bare rooms shrouded in darkness, eerily depopulated streets, fashion and interior design not easily identified by decade.
Related The dialogue during these terrific scenes alternates between French and English, sometimes almost as a means of inflection, reflecting subtle shifts in the seductive charge between the two. Some of it is borrowed from the unlikely source material: the 1903 Henry James novella The Beast in the Jungle, about a man caught in a self-fulfilling prophecy, so blinded by his certainty that misfortune awaits him that he fails to really live .
Marked by a few stilted bit performances and a hypnotically repetitive rhythm, this near-contemporary stretch of the movie — a trance stalker thriller in the City of Angels — is at once awkward and nightmarish. The two qualities are perhaps related, even inextricable.
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