A sinner, a killer and a very controversial erection: has director Alain Guiraudie surpassed Stranger By the Lake?
He caused a scandal with his erotic tale of lakeside cruising. Now the French film-maker is back – with a funny yet tragic story of lofty ideals, base passions and a lusty priestThere’s a wonderfully frank clifftop scene in Misericordia, Alain Guiraudie’s new rural thriller, in which a priest seems to give absolution to a murderer. Not through some great act of clemency, though, but because of what he wants in return. “He’s a lot like me,” says the director, laughing. “He’s navigating between his greater ideals and his desires as a man. I think a lot of us do that.”Morally flexible clergymen, vacillating killers, characters whose desires lead them into terra incognita – this is Guiraudie’s morally unstable terrain. Misericordia is the mirror image of his much-praised 2013 psychological drama Stranger By the Lake. Where that film made a murderer a dimly grasped object of desire, here the point of view is the killer’s. Jérémie stirs up dormant passions when he returns to his childhood village for the funeral of his former baker boss. In Guiraudie’s hands, it’s never certain whether a story will turn out tragic or comic. In Misericordia, it’s both: the film starts off in Talented Mr Ripley territory, before spiralling into bed-hopping, gendarme-dodging farce. Continue reading...
He caused a scandal with his erotic tale of lakeside cruising. Now the French film-maker is back – with a funny yet tragic story of lofty ideals, base passions and a lusty priest
There’s a wonderfully frank clifftop scene in Misericordia, Alain Guiraudie’s new rural thriller, in which a priest seems to give absolution to a murderer. Not through some great act of clemency, though, but because of what he wants in return. “He’s a lot like me,” says the director, laughing. “He’s navigating between his greater ideals and his desires as a man. I think a lot of us do that.”
Morally flexible clergymen, vacillating killers, characters whose desires lead them into terra incognita – this is Guiraudie’s morally unstable terrain. Misericordia is the mirror image of his much-praised 2013 psychological drama Stranger By the Lake. Where that film made a murderer a dimly grasped object of desire, here the point of view is the killer’s. Jérémie stirs up dormant passions when he returns to his childhood village for the funeral of his former baker boss. In Guiraudie’s hands, it’s never certain whether a story will turn out tragic or comic. In Misericordia, it’s both: the film starts off in Talented Mr Ripley territory, before spiralling into bed-hopping, gendarme-dodging farce. Continue reading...
