bastards_04In Britain, the term ‘bastard’ is often affectionately implemented into speech amongst friends, as a commonly used term that has lost its sting somewhat, said endearingly, albeit mockingly, at times. However it would seem that in France, the word remains indicative of unpleasantness, and as poisonous as it’s intended, as within Claire Denis’ aptly named Bastards, there are some rather nasty characters to say the least. If this film was a physical object and you ran your finger across it, you’d be left with half an inch of dirt to wipe off, as this is a seedy, grotty and ultimately bleak affair.

Vincent Lindon plays Marco, who returns home to Paris following the suicide of his brother-in-law, to not only provide some comfort to his grieving sister (Julie Bataille), and physiologically damaged niece, Justine (Lola Créton), but to seek revenge also, as he targets the man who they believed to have caused this murky and elusive tragedy – powerful businessman Edouard Laporte (Michel Subor). Marco rents an apartment above the shady tycoon, however as he delves deeper into the story, the darker it gets, as secrets come to light, and it’s a situation in no way helped when Marco becomes emotionally involved with Laporte’s mistress, Raphaëlle (Chiara Mastroianni).

The entire opening act to this production is one drenched in ambiguity, as we are introduced to a variety of characters with little to no explanation of who they are, or what they’re all about – such as Justine, who we see wandering the streets completely naked, with blood running down her legs. Fortunately, Marco is also in the dark over various matters surrounding this suspicious suicide, therefore allowing the viewer the chance to learn of the narrative and piece it all together as he does. That’s not to say it doesn’t become perplexing at times, as the way Denis moves between the present day and flashbacks (or moments yet to come), can throw the audience off guard somewhat. Nonetheless, it seeks only in enhancing the mysterious, inexplicable nature, as a film that is shy of convention, revelling in a unique, ingenious approach to filmmaking.

There isn’t much dialogue either, an effective technique, as the more subtle, minimalist style allows for Denis to play with our perceptions through the use of imagery and music, which can so often create an atmosphere that words would never quite be able to. Talking of music, the original score composed by Tindersticks adds to this brooding atmosphere so well, playing a key role in this film. Meanwhile, Lindon turns in a stunning lead performance, and he has the charisma required to carry the piece. Though, much like everybody else in this picture, he isn’t particularly endearing, in a film where every character is imperfect, all flawed in their own way, gravitating around this corrupt, underground world of messed up, sleazy sexual desire. Lindon has this watchability though, and given this is a film sparse in the spoken word, a beguiling performance of this ilk is simply imperative.

Bastards is a brooding, atmospheric piece, and one that will stay with you long beyond the closing credits. Not that you will necessarily want it to, as such, but it will linger nonetheless. That said, there is an elusive charm to this piece, though given this has a Valentine’s Day release in the UK– it may be wise to wait a day or two before venturing to your local cinema, as let’s just say that romantic isn’t quite the world you would use to describe this particular production.

[Rating:4/5]

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