|
|
|
Synopsis
One night, Bibianne hits a man with her car while driving drunk; she flees the scene, and the man crawls home to die of an internal haemorrhage. Bibianne becomes suicidal, but somehow manages to save herself after plunging into the river in her car. Determined to set things right, she ends up meeting the man's son, Evian (Jean-Nicholas Verrault), who falls in love with her, not knowing she's his father's accidental murderer. Bibianne has been given a second chance -- but will her guilt allow her to take it?
|
|
Montreal filmmaker Denis
Villeneuve burst on the scene during Radio Canada's 1990/91 Europe-Asia Race,
during which he directed 20 short videos and won first prize. He went on to
direct many award-winning music videos, and appeared as an actor in the 1995
film Zigrail. In 1996, Villeneuve wrote and directed a segment
of the anthology film Cosmos, which won that year's Prix International
des Cinemas d'Art et d'Essai at Cannes. His first feature, August 32 On
Earth (1998), was selected as the official Canadian entry for Best Foreign
Language Film at the 1999 Academy Awards. Maelstrom is Villeneuve's
second feature film.
Filmography
Maelstrom (2000)
August 32 On Earth (1998)
|
|
"The ocean doesn't want
me today," grouses the sepulcheral voice of Tom Waits, as Bibianne Champagne
(Marie-Josee Croze) propels herself headlong through a tide of self-destructive
behavior which just keeps on rising ever higher, ever blacker and ever deeper
with each new drink, cigarette and anonymous, unprotected fuck-of-the-night.
Since she conducts her entire life like a drive-by, it should come as no particular
surprise when--too craven, apparently, to kill herself outright--she finally
manages to kill someone else.
But the true mystery and
miracle of Maelstrom is less why Bibianne's life is being narrated,
out of linear sync, by a series of half-dead talking fish--and more how Croze
and director/screenwriter Denis Villeneuve manage to make us actually care about
this arrogant, angst-ridden spoiled brat of a protganist. Together, they paint
a rivetting portrait of a woman patently unafraid to be just as inaccessible
and dislikable as any given male antihero--one who constantly flaunts her emotional
dysfunction in the face of everyone she meets, as though daring them
to do something about her own behavior: To control her, at any cost, since she
obviously can't control herself.
Strong stuff, definitely--but
though Villeneuve wraps his contemporary fairy-tale in a blanket of seductive,
watery imagery, he never allows it to file off the rough edges of Croze's angry
pain. Which is not to say that Maelstrom has no hint of transcendence,
either. Grave, dark and weirdly natural as one of the Grimm Brothers' original
translations, this is a film which argues for personal responsibility--and accountability--even
while plumbing the very depths of this superficial, aimless whirlpool we call
"modern" life; suffering, it seems to say, doesn't get you anything but membership
in the human race. Which means that the rest (ie, what you eventually decide
to do with these multifoliated opportunities you're constantly handed)
is left entirely up to you--and since no one, human or fish, knows when the
chopper's going to descend, you might at least let yourself have a little fun
while you're at it.
Gemma Files
|
|
|
FILM CREDITS
|
| Director |
Denis Villeneuve
|
| Screenplay |
Denis Villeneuve
|
| Photo |
Andre Turpin |
| Editing |
Richard Comeau
|
| Setting |
Sylvain Gingras |
| Costume |
Denis Sperdouklis |
| Music |
Pierre Desrochers
|
| Cast |
Marie-Josee Croze
Stephanie Morgenstern
Jean-Nicholas Verreault
Pierre Lebeau
|
| Production |
Roger
Frappier |
| |
MAX FILMS |
| Agent/Distributor |
Alliance Atlantis Pictures Int
|
|
|