Violationby Madeleine Sims-Fewer and Dusty Mancinelli recounts an act of violence. But it does not do it from the usual perspective or under the parameters to which the cinema usually adjusts itself. In fact, one of the essential points of the film is its refusal to show an act of violence with simplicity. The argument of Violation makes it clear that violence dehumanizes, corrodes, corrupts and destroys. That ends up spreading like an unstoppable wave that not only hits the victim and the perpetrator, but also everyone around him.
But beyond that, Violation ponders the cruelty of sexual abuse from a disturbing new angle. So much so that the meaning of the film becomes completely disconcerting and harrowing. The film by the duo of directors Madeleine Sims-Fewer and Dusty Mancinelli he does not want to scandalize or fan the thirst for revenge towards a cruel crime. What you really want is to walk the nature of the human being through its darkest, most dangerous and hardest cracks.
Violation separates almost from the first scenes of the subgenre rape and revenge to create a methodical perception of fear. It is a look at cruelty, but without adding the inevitable ingredient of morbid and sinister observation. Can something similar be achieved? The film succeeds, but even takes a step in an unknown direction: question the origin of cruelty. Especially in a contemporary setting where the gradations on perception seem to be endless.
‘Violation’, a line in primitive fear
Of course, there will also be revenge and the notion about speculation about the violence that is infringed. But the premise avoids platitudes and focuses on a disturbing question. Can our age understand the primitive origin of physical cruelty? Violation it is not a pleaNor does it attempt to portray sexual violence as a useful trope to highlight the power of a character.
In fact, the plot has the ability to extrapolate rape onto such an unsettling scale that it turns into sheer horror. In movies like the different remakes and sequels of I’ll spit on your grave, the sight of abuse is a trigger for horror. On Violation is a twisted and harrowing reflection on what we fear and we could do it in extreme situations.
The nuance allows the film to move towards new regions of the same idea. For better or worse, Violation appeals to a harrowing realism that gives him a stark look at an old movie cliché. In 2018, Revenge Coralie Fargeat displayed a kind of brutal power born of fear. A promising young woman Emmeral Fenet’s perception led to a certain mocking sophistication. But Violation dispense with all that baggage on abuse as a nucleus to go through something new. Terror takes on an unknown face and, perhaps, is its best piece on a gloomy board.
The terror behind closed doors
The film dedicates much of its first installment to establishing the atmosphere. There are many different metaphors to establish a dialogue between the category of the victim and the perpetrator. But the script is bold enough to avoid simple explanations. From the very moment Miriam (Madeleine Sims-Fewer) and her husband Caleb (Obi Abili) appear on screen, the notion of horror is carefully drawn. But it is not just an uncomfortable look at what unites – or separates – the couple.
There is also an eloquent tour of the way Miriam perceives herself. If in The Nightingale (2018) by Jennifer Kent, the camera’s eye chases the victim everywhere, in Violation he is a dark spy. And that perception of the fracture with reality, the pain of the rupture between good and evil, which makes the film something dark. There is darkness in Miriam, although the plot speaks little about her. In reality, the script is completely focused on enhancing and reconstructing the idea of fragility.
Miriam suffers from a separation that we don’t know much about. Also by a series of dilemmas that are gradually outlined as part of the character’s context. But none of them has to do with the fact of what he will do – allow himself to do – afterwards. Miriam is a victim, but she also has a cruel potency that surprises with her intricate perversion and harshness.
The character is defined by his relationships. Once he meets Greta (Anna Maguire) and her brother-in-law Dylan (Jesse LaVercombe) the movie reveals his intentions. It does so without creating the speculation of a fragile creature about to fall into the hands of violence. The most amazing in Violation It is the way in which he deals with the narration of the victim woman in the cinema. He subverts and rebuilds it to create an entirely new monster of legitimate power.
At the end of cruelty, darkness
The aesthetics of Violation has been compared to the rawness of Lars Von Trier, although the similarities are few and not all evident. Madeleine Sims-Fewer and Dusty Mancinelli create a version on the rawness of the static camera that has parallels with the style of the Danish director. But there is actually much more to this x-ray about the drive for violence, hatred and cruelty. The narrative focuses on the way I hate everything.
Violation It is not a work that seeks to create an authorial concept about sexual assaults. Nor is it a look at the power of the victims or the way it can be recreated through unusual vehicles. Perhaps your greatest interest is taking an awkward step toward something more twisted and wicked. An unusual connection to the way we imagine violence and what it can actually be.