A trailer for “The Beast” was released in January. Bertrand Bonello’s critically acclaimed sci-fi mindbender, starring Lea Seydoux and George MacKay, is being released this coming Friday, April 5.
Last year, Bonello confirmed that “The Beast” was rejected by Cannes. As much as I loved Bonello’s film, I am not surprised by the rejection. “The Beast” is an unusual film, and one that takes so many risks that it threatens to derail at any moment. The fact that it doesn’t it damn-near miraculous.
This was the ballsiest film to screen at last year’s editions of TIFF and Venice. However, it takes its time to cast its spell, I was lukewarm on its first 45 or so minutes, which delves more into period-era filmmaking, but once it finally grabs a hold of you, the result is a damn-near hypnotic experience.
Bonello’s story unfolds over three distinct periods: 1910, 2014 and 2044 — The plot is set partly in the near future in which artificial intelligence is in control of everyone's lives and human emotions are perceived as a threat. Seydoux and MacKay’s time-shifting romance veers towards the spiritual — it seems to not just tackle DNA technology, but hints at possible resurrection.
Gabrielle (Seydoux) continually falls in love with different incarnations of Louis (MacKay). He woos her in Belle Époque-era Paris only to turn into a disturbed American bent on delivering violent “retribution” in 21st Century Los Angeles. In 2044, she again attempts the impossible, but can their doomed fate ever be changed?
Bonello’s 142 minute film hits its peak at the one hour mark and doesn’t let go, as it starts veering into Lynchian territory — the Hollywood hills, stalkers, and super models collide in a story unlike any. The force behind it all is Seydoux, a marvelous actress, who keeps shapeshifting personas at every turn.
Kudos to editor Anita Roth’s for intercutting these three storylines. The flow she builds in “The Beast” is never abrupt, always clear, and maintains Bonello’s visual ravishments. The film is filled with conversation, dreams, baffling sci-fi and the urge to isolate its viewer. Turned off? You shouldn’t be. At the very least, give this film a chance, it might haunt your dreams. [B+]
To say it blew the roof off the place would be an understatement. I don't think I've ever seen a Toronto audience — any festival audience — embrace a movie the way they did last night.