‘Else’ Review: A Pandemic Romance Morphs Into Bleak Body Horror in Bonkers French Flick

As a cinephile who has spent countless hours immersed in the world of cinema, I can confidently say that “Else” is a truly unique and thought-provoking film. Director Thibault Emin masterfully navigates the complexities of human connection and existential dread, all within the confines of a claustrophobic apartment setting. The film’s visual style is both dreamy and haunting, with cinematographer Léo Lefèvre deserving special recognition for his captivating black-and-white cinematography that harks back to the early days of cinema.

In his debut feature film “Else,” director Thibault Emin initially toys with the sweet, romantic ideas of two people becoming one, but quickly delves into the unsettling implications of such a connection. The movie, which premiered at the Toronto Film Festival, primarily unfolds within an apartment that serves as both a sanctuary and a confinement. Although it can be a bit heavy-handed, it’s undeniably visually captivating. “Else” is essentially a parable of a couple navigating an ever-present menace from the outside world, and it also explores profound thoughts about individuality as a nightmare version of a romantic dream.

Matthieu Sampeur, affectionately known as Anx, is a man plagued by anxiety. His bedroom, adorned with the exuberance of a child (with red sheets, purple walls, bright lights, and scattered colorful toys), reflects his difficulty in forming meaningful relationships with other adults. He’s not particularly sociable, often avoiding interactions with his building neighbors, and even finds it challenging to address issues like noise disturbances from neighbors. This is why he’s taken aback when he develops a strong attraction towards Cass (Édith Proust), a vivacious one-night stand. She’s bold where he’s cautious, outspoken where he’s reserved.

Encountering such a scene (with him on top of her, both in a state of disarray and him ultimately unable to maintain their intimacy), one might be led to believe that “Else” is a lively comedy with the main focus being the amusing antics of her casually tossing a half-eaten fig onto the ground (while he watches in shock). For a moment, it appears as though “Else” intends to immerse us in a chaotic romantic comedy, set within Anx’s cramped apartment. However, this comedic tone swiftly gives way, as Emin hints that there might be something unsettling going on. As a series of photographs posted on social media recount their chance encounter at a party the previous night, Anx becomes increasingly alarmed by a single detail in one picture that doesn’t include either of them: a man reaching for popcorn exhibits peculiar marks on his hand.

It’s understandable for Anx to feel concerned, as news swiftly emerges about an unusual contagion spreading rapidly. This illness seems to cause people to blend with their surroundings – from their phones and pavement to rocks. With nowhere else to go, Anx decides to barricade himself in his apartment and isolate himself from others. However, there’s one exception – Cass, who is eager to spend this lockdown with her novice lover. Unfortunately, the intimacy they manage to create is soon jeopardized by the enigmatic force that’s consuming everything it touches. It isn’t long before “Else” becomes a chilling resemblance of a horror movie, as Anx and Cass find themselves battling an unknown entity lurking just outside their apartment door. This creature may be communicating to them, in the famous words of Star Trek, that resistance is futile.

In the film “Else”, the romantic scenes are depicted as dreamy and hazy, while the sci-fi sequences are stark and minimalistic, creating a stark contrast. It is Léo Lefèvre’s cinematography that steals the show. Despite Anx and Cass trying to evade detection to avoid contamination from the bizarre spongy mass outside their room, Lefèvre manages to keep the camera captivating even during body horror scenes that can seem a bit far-fetched. Some of his black-and-white cinematography has an unusual beauty reminiscent of Méliès and Wiene’s work.

Emin’s film has a tangible quality to it that stands out. Anxiety and Cassandra are wary of blending into their surroundings, but the film’s unique style keeps us acutely conscious of the malleability of their environment. Each object, landscape, surface, and skin is captured with an eerie, disconcerting perspective. This story explores what it signifies to perceive others in a new light, and this lesson on perception is passed on to us as well.

Else” might test one’s patience with its genre-hopping journey before settling on a somber contemplation. It exhibits a delightful playfulness (at one instance, a rock beast assaults Cass) and an unexpected melancholy (the climax revolves around a tale about the lungfish and evolution). This dramatic shift in tone is purposefully jarring, yet no less frustrating. However, despite the visually stunning but complex layers that envelop its grand aspirations, Emin’s feature film stands as a fascinatingly strange masterpiece that mirrors its monstrous character – pieced together, wild yet spacious.

2024-10-08 02:46

‘Else’ Review: A Pandemic Romance Morphs Into Bleak Body Horror in Bonkers French Flick

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