Random strangers suddenly start attacking Vincent with murderous intent whenever they make eye contact. At first, he tries to continue his daily business, but as things spiral violently out of control, he is forced to flee and change his life completely.
It’s that time of the year again! Time for the annual Cannes Film Festival, now marking its 76th year. With highly anticipated releases like Scorsese’s “The Killers of the Flower Moon” and those on the other end of the spectrum that are drawing backlash and much-deserved disdain, releases like overrated Sam Levinson’s “The Idol” and the cringe-inducing desperate cash-grab “Indiana Jones and the Dial of Destiny.” While last year’s Cannes Film Festival did not bring much to the cinematic table, this year’s is already intriguing thanks to original films like “Omen” and “Vincent Must Die.”
As with last year’s thought-provoking “Property,” the French/Belgian co-production of “Vincent Must Die” also features John Carpenter-inspired synths and a similar approach by the veteran auteur utilizing a straightforward yet effective film technique. Writer Mathieu Naert’s original screenplay cleverly combines a wide range of genres full of dark existential themes. While “Vincent Must Die” is first and foremost a horror, it is also a mystery, sometimes a thriller, occasionally dramatic, and absurdly comedic.
Filmed in the beautiful wine region of the Loire Valley and Rhône, the rural locations do not slow down the plot, yet they increase the plot’s tension. Living in a post-lockdown world, one can relate to the film’s misanthropic anxieties. In “Vincent Must Die,” everyone is a potential threat. Feelings of isolation and fear continue to permeate. While it is undoubtedly a violent film, it is not grotesque nor overindulgent by any horror standards.
Director Stéphan Castang’s camerawork is understated, but the editing by first-timer Méloé Poillevé is hard-hitting and perfect. And while Castang’s feature debut is entirely original, he makes several cinematic nods to past iconic filmmakers throughout. For instance, one scene mirrored “In the Mouth of Madness,” where two characters sitting in a restaurant are ignorant of the fact that a murderous man is approaching them. Other scenes recalled the frenzied attackers in George Romero’s “The Crazies,” Philip Kaufman’s post-hippie self-obsessed pod people of “Invasion of the Body Snatchers,” and Godard’s “Weekend” where long tracking shots capture vacationing bourgeoisie tearing each other to pieces. As well as a near-biblical fight in a muddy field recalled the Russian WWII horror “Come And See.”
Not only is this a promising feature for a new filmmaker, but it is also a major breakout role for lead Karim Leklou as Vincent. His performance deals with a wide range of emotions and character development. Going from a mild-mannered semi-rude graphic designer to what he must endure and navigate is a fully realized role that is one of the year’s best. Without friends, family, or trustworthy authority, we see how this lack of community and socializing can be dangerous. We also watch Vincent adopt an adorable dog, scroll through websites for survival tips from a mysterious group called The Sentinels, and embark on a rocky romance with a waitress named Margaux (an equally fantastic performance by Vimala Pons) who serves at an American-themed diner.
The off-beat humor and idiosyncratic nature of the screenplay transcends any underlying morbidity. Trust is a central theme that the film explores and dissects. And because it is a thoughtful film, it is a thought-provoking experience. Questions arise like how are we expected to work or exist while the world falls apart? Perhaps you can isolate yourself with a boat or other private measures, but for how long? What would you do in a catastrophe?
Mimicking John Wick, many people have been saying, “Movies are back,” and with “Vincent Must Die,” yeah – I’m thinking movies are back!
“Vincent Must Die” recently premiered during Critics’ Week at the 2023 Cannes Film Festival
