To critics at Cannes that were growing weary of long-winded art
films that move at a snail’s pace, Disorder may have felt like a bit of a breath
of fresh air. Throbbing with an electronic beat from the start, and not getting
too bogged down by exploring it’s hero’s post-traumatic stress disorder, Alice
Winocour’s film is a simple thriller that mounts the tension from its opening
scenes and keeps audiences gripped throughout. It’s unlikely to win any awards,
but it’s a welcome chance to get comfortable on the edge of your seat for just
over an hour and a half.
Matthias Schoenaerts plays Vincent, a soldier who returns
from Afghanistan to be medically assessed due to his nosebleeds, hallucinations
and other symptoms of acute anxiety. Taking a security job at wealthy Lebanese businessman
Whalid’s mansion, Vincent soon finds himself becoming embroiled in the lives of
his client’s family. Knowing Vincent won’t be going back to fight again, his
friend Denis offers him the seemingly simple task of looking after Whalid’s
wife Jessie (Diane Kruger) and son Ali, while the businessman takes a
potentially dangerous trip. Becoming alerted to some dodgy dealings before
Whalid leaves, Vincent’s already burgeoning anxiety turns to full blown
paranoia as he strives to protect the family from a potentially dangerous
threat.
It’s not paranoia if they’re really after you and so it goes
for Vincent as he finds himself putting his temper and flair for violence to
good use during Disorder. It’s a slow build up, and Winocour is keen to make
viewer’s doubt Vincent’s mind state in the first half of the film. Is he
imagining threats around every corner, or is he just highly attuned to sense
danger after his time serving in Afghanistan. While this is all explored rather
pointedly in the early scenes with Vincent necking an assortment of pills and
suffering from a range of noticeable tics, it takes a back seat as the action
amps up for a home invasion set piece at the film’s climax. Once it becomes
clear that Vincent has every right to be on edge, Disorder strays into formulaic
thriller territory but still throbs with energy.
Before this, we have to make do with Vincent and Jessie
playing family as Vincent discovers his heart is intact, even if his mind is a
little fractured. While taking care of Jessie and Ali, Vincent starts to take
the absent father’s role and the hint of a romance starts to develop between
the couple. Schoenaerts is cementing his reputation as another heartthrob with
real talent behind his chiselled features and impressive physical presence. While
the chaste romance is kept just barely simmering, it is the earlier moments
where Vincent shows signs of trauma that allow Schoenaerts to really impress.
He’s a credible romantic lead, but when he springs into action, he is
impossible to take your eyes off.
Meanwhile Kruger gets the most minimal role imaginable,
trapped in an extremely tired and typical worrying wife role and given little
to do except look pretty. It’s a shame as Vincent comes across as a fairly
complex character but Kruger is under served here by the writers. That said,
she is certainly eye catching and while strutting around the beautiful mansion
she lives in, she does a convincing job of fitting into her lush surroundings
as the gorgeous trophy wife.
While the screenplay is nothing too original, the film looks
and sounds excellent. The production design manages to make the mansion where
most of the film is set both claustrophobic and wonderfully lavish. More
importantly the score from French techno artist Gesaffelstein is inventive,
energetic and perfectly captures the overactive and disturbed mind of Vincent.
Aided immeasurably by its sound design, Disorder pulsates in order to get the
blood pumping.
Those wishing to see Schoenaerts juggle machismo and sensitivity
will enjoy the star’s performance here. As far as story, Hollywood has done
this kind of thing a thousand times before and often better. However, while the
writing may be nothing hugely special, as a director, Alice Winocour will
probably be heading to Hollywood soon with a calling card as effectively
entertaining as this.
Watch the trailer:
No comments:
Post a Comment
Join me in conversation! Please leave a comment on your own pondering.