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MARTYRS
An extremely well made, thoughtful and unique film, the French-Canadian MARTYRS (2008) is a good movie by most standards, but it’s also a profoundly fucked-up one. I admire the film’s uncompromising, thought-provoking thrust, but can’t say I much like it, nor can I in good conscience recommend it to anyone.
The Package
MARTYRS’
writer-director Pascal Laugier has claimed he made the film in response to
Michael Haneke’s pretentious 1997 Austrian torture fest FUNNY GAMES and its 2008
American remake. Those films were marked by a glib depiction of violence and
torture that had the torturers directly addressing the audience, and at one
point rewinding the action to make things go their way. MARTYRS takes the
old-fashioned approach, rending the sufferings of its characters in
straightforward, non-ironic fashion. It stands in direct contrast to FUNNY
GAMES, but also to modern horror cinema in general. There’s literally nothing
fun or clever about this film, surely one of the most relentlessly bleak of all
time.
It incited a veritable tsunami of controversy on the festival circuit,
being among the most talked-about films of the 2008 Cannes Film Festival (even
though it screened out of competition). It joins the recent wave of
French-language horror fests like HIGH TENSION,
INSIDE and FRONTIER(S), but outdoes them in all
in offensiveness--and, for that matter, nearly everything else.
The Story
An
apparently nice suburban family--husband, wife, teenage son and daughter--is
sitting down to breakfast in their posh home when a shotgun-wielding girl bursts
in and shoots them all. Clearly Lucie, who was subjected to horrific abuse as a
youngster, is totally insane. She believes an imaginary woman, a grotesquely
emaciated torture victim she once glimpsed, is after her.
After killing the family Lucie calls her friend Anna and reveals what she’s
done. She claims to have killed out of revenge, as her victims were her
childhood torturers.
Anna hightails it to the house. There she assists her friend in disposing
of the bodies, but is unable to stop the latter from killing herself. Anna
does, however, stumble onto a vast underground chamber where a hideously abused
woman is chained up. Anna tries to help the woman, but is stymied by a band of
black-suited men and women who turn up--they’re the house’s other
owners.
These folks were the real orchestrators of Lucie’s childhood torture.
They’re obsessed with the concept of martyrdom, the deathless state achieved
after intense suffering. Young women, they believe, make the most effective
vessels--meaning Anna is about to experience first-hand the unspeakable torment
Lucie escaped.
The Direction
The first two-thirds of MARTYRS are a well made, if essentially
unremarkable, home invasion suspensor a la
INSIDE. Gritty handheld camerawork is a
constant in these scenes, which work fairly well despite the fact that the
shock-horror business isn’t all it could be; there’s none of the dark humor or
roller coaster exhilaration of most good horror movies. Director Pascal
Laugier’s heart just doesn’t seem to be in crafting a traditional scare fest.
It makes sense, then, that the most effective and disturbing scenes occur during
the final third, which takes an entirely different turn.
Here we’re given a torture fest the likes of which have never been seen on
screen. While the film’s graphic content isn’t all that shocking (at least not
by today’s standards), the unrelenting suffering undergone by its heroine, and
its ultimate transcendent (albeit profoundly disturbing) purpose, is
unprecedented.
MARTYRS is very likely the apotheosis of the so-called “torture porn”
cycle. It’ll make you question why you bother viewing such films, and how such
terrible things might happen in real life. Just keep in mind that in viewing
this film you’ll be immersing yourself in a darkness so profound it makes such
celebrated over-the-toppers as SALO:
THE 120 DAYS OF SODOM,
CANNIBAL HOLOCAUST and
IRREVERSIBLE seem
like Disney movies by comparison.
Vital Statistics
MARTYRS
Canal Horizons
Director: Pascal Laugier
Producer: Richard Grandpierre, Simon Trottier
Screenplay: Pascal Laugier
Cinematography: Stephane Martin, Nathalie Moliavko-Visotzky
Editing: Sebastien Prangere
Cast: Morjana Alaoui, Mylene Jampanoi, Catherine Begin, Robert Toupin, Patricia
Tulasne, Juliette Gosselin, Xavier Dolan-Tadros, Isabelle Chasse, Emilie
Miskdjian, Mike Chute, Gaelle Cohen, Anie Pascale