This film did not turn up on my radar back in 2005. That's not surprising, I think, given the complexity and opaqueness of the story which together renders such a movie as box-office poison. It is, however, a cleverly contrived fable about unresolved needs and dreams – and all with a distinct nod to David Lynch, arguably the master of complex mystery and film-making – and all dressed up with appropriate symbolism and metaphor.
Every city has lonely people and Iris (Olga Kurylenko) is one such young woman working as a drudge on an assembly line in a bottling factory at a major sea port. Her face is set, sullen and almost sad as she helps the bottles along clattering rollers. She doesn't see a broken bottle and cuts her ring finger badly, gushing copious blood around. The wound is dressed at a medical office where, overcome by stress and pain, she lapses into sleep, almost in a fetal position.
With a quick jump-cut, we next see Iris renting a room at a seaport dive for sailors – a direct symbol for one of her needs – and then obtaining a job as an "office manager" at an obscure laboratory where she assists with the screening of people who wish to preserve things of value. The pale-faced laboratory owner (Marc Barbe) is authoritative, austere, and abrupt at first, and always dressed the same: black trousers and shoes, white shirt and long white laboratory coat that billows out as he strides around each day, seeing to the work within the 100 plus rooms in the old college he bought to house all the preserved "specimens" he keeps for clients.
As time passes, he becomes more interested in Iris, more attentive and finally more possessive – providing a clue as to why prior female office managers had apparently left hurriedly. Iris, however, allows herself to succumb to his wishes and desires – and thereby satisfies another of her secret needs; and which also result in the brief, highly erotic love making that simply confirms the depth of her deprived emotional needs. Incidentally, as part of their "contract" he insists that she wears a pair of high-heeled red shoes – always.
At the same time, Iris also evinces interest in the young sailor at the hotel with whom she shares a room but – he being on shift work – without ever seeing him, only savoring the lingering smell on his bed and clothes. It appears that the sailor is equally interested when we see him doing the same with her clothes when alone in the room.
Curiosity, though, drives Iris even further with her need to see the laboratory in which specimens are prepared. She asks her employer if she can see him work, but he refuses. But she persists as she gains more favor with him and eventually manages to convince him she is worthy.
Few viewers, I think, will be satisfied with the closing scenes and may remain mystified. They do, however, provide closure for the entire story and Iris's experience.
The film is distinctive with just enough dialog, long takes, seemingly erratic cuts, a riveting sound track that's difficult to hear properly, and mostly nameless characters, including an enigmatic shoe-shine expert of fifty years. It all adds to the mystery but some viewers will be dissatisfied, even repelled.
From that overall perspective, and like David Lynch, the director (Diane Bertrand) has left viewers to interpret the story according to their own beliefs and experiences. Like Lynch's movies, there are long, dark corridors, extreme close-ups, unexplained scenes (for example, Iris swinging on the end of a large crane cable's hook), unexplained time shifts, unexplained appearances of others who seem to add nothing to the story, and, of course, an enigmatic ending. Bertrand doesn't achieve the same type of suspense, though; that, however, may be deliberate because the subject matter here doesn't have the same darkly evil connotations so evident in most of what Lynch has done.
Still, if you like Lynch, I highly recommend this film; and the director, as an interesting and promising companion, perhaps. Give this a seven.
August 2011.
Every city has lonely people and Iris (Olga Kurylenko) is one such young woman working as a drudge on an assembly line in a bottling factory at a major sea port. Her face is set, sullen and almost sad as she helps the bottles along clattering rollers. She doesn't see a broken bottle and cuts her ring finger badly, gushing copious blood around. The wound is dressed at a medical office where, overcome by stress and pain, she lapses into sleep, almost in a fetal position.
With a quick jump-cut, we next see Iris renting a room at a seaport dive for sailors – a direct symbol for one of her needs – and then obtaining a job as an "office manager" at an obscure laboratory where she assists with the screening of people who wish to preserve things of value. The pale-faced laboratory owner (Marc Barbe) is authoritative, austere, and abrupt at first, and always dressed the same: black trousers and shoes, white shirt and long white laboratory coat that billows out as he strides around each day, seeing to the work within the 100 plus rooms in the old college he bought to house all the preserved "specimens" he keeps for clients.
As time passes, he becomes more interested in Iris, more attentive and finally more possessive – providing a clue as to why prior female office managers had apparently left hurriedly. Iris, however, allows herself to succumb to his wishes and desires – and thereby satisfies another of her secret needs; and which also result in the brief, highly erotic love making that simply confirms the depth of her deprived emotional needs. Incidentally, as part of their "contract" he insists that she wears a pair of high-heeled red shoes – always.
At the same time, Iris also evinces interest in the young sailor at the hotel with whom she shares a room but – he being on shift work – without ever seeing him, only savoring the lingering smell on his bed and clothes. It appears that the sailor is equally interested when we see him doing the same with her clothes when alone in the room.
Curiosity, though, drives Iris even further with her need to see the laboratory in which specimens are prepared. She asks her employer if she can see him work, but he refuses. But she persists as she gains more favor with him and eventually manages to convince him she is worthy.
Few viewers, I think, will be satisfied with the closing scenes and may remain mystified. They do, however, provide closure for the entire story and Iris's experience.
The film is distinctive with just enough dialog, long takes, seemingly erratic cuts, a riveting sound track that's difficult to hear properly, and mostly nameless characters, including an enigmatic shoe-shine expert of fifty years. It all adds to the mystery but some viewers will be dissatisfied, even repelled.
From that overall perspective, and like David Lynch, the director (Diane Bertrand) has left viewers to interpret the story according to their own beliefs and experiences. Like Lynch's movies, there are long, dark corridors, extreme close-ups, unexplained scenes (for example, Iris swinging on the end of a large crane cable's hook), unexplained time shifts, unexplained appearances of others who seem to add nothing to the story, and, of course, an enigmatic ending. Bertrand doesn't achieve the same type of suspense, though; that, however, may be deliberate because the subject matter here doesn't have the same darkly evil connotations so evident in most of what Lynch has done.
Still, if you like Lynch, I highly recommend this film; and the director, as an interesting and promising companion, perhaps. Give this a seven.
August 2011.