Did Alexander Walker, noted film critic of the Evening Standard, really review this as "The best Hitchcock film since Hitchcock went to the family plot"? Because if he did, I am severely disappointed - he clearly knows nothing about Hitchcock. Film is barely cinematic until last third, but consists of people talking. A touch of Chabrol (Peter Bradshaw) I'll grant you, but even he maligns the Master with an H reference. (We thought it had more thematically in common with The Shining, with its remote location, garish pink bathroom, character slowly going off his head and not writing anything. Actually I can also see a resemblance to Deray's La Piscine.)
Laurent Lucas, who possibly has the most irritating children in the world (the opening in the car is to us the film's biggest nightmare), meets former school chum Segi López at a petrol station. The latter has such as annoyingly insistent manner that I would have been seriously pissed off within two minutes. Then he and his girlfriend Plum (Sophie Guillemin) invite themselves over for drinks, "unless it's an imposition". Well I would have said "Yes it is" and Q would have more tactfully lied: "We have to go and see his parents". But then we are used to extricating ourselves from unrequited social situations.
You wonder whether there's a character transference thing kind of going on, but there isn't. The way that the manipulative and embarrassing parents and the odious brother are bumped off, though, is blackly funny.
Best moment is sequence of close up of egg to sleeping Plum to author finally writing. Also really liked the sound design of the run-down farmhouse.
Film is quite watchable, though absolutely bonkers. But c'mon guys, Hitchcock? Maltin: 'Hitchcockian'. Really?
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