Hors Satan (Outside Satan) (2013)
Angel or devil, good or evil, Christ or Satan: These are the mystical questions revolving around the nameless figure living in the coastal dunes outside of a small French town. Named one of the top ten films of the year by Cahiers du Cinema and an official selection of the Cannes Film Festival, Hors Satan is a provocative parable of identity, morality, and human relationships, defying notions of genre to become a mesmerizing and haunting original. -- (C) New Yorker Films -- (C) New Yorker Films
as Le Gars
as la fille
as la mère
as la mère de la gamine
as la gamine
as le garde
as l'homme au chien
as la routarde
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Critic Reviews for Hors Satan (Outside Satan)
Dumont's final feature with the late Dewaele is as hypnotic as their collaboration in "Hadewijch," another lucid hallucination splendid with sex, demons and landscapes that could have been painted centuries ago.
I find the movie mind-blowing, though it will likely alienate as many viewers as it impresses.
God works in strange ways, especially when Bruno Dumont directs him. Or is that the devil?
The ambiguity of the episodic story with its sparse dialog, combined with the visually stunning landscape photography, makes "Hors Satan" a compelling, if overly long, composition.
"Hors Satan" could be grouped with Carlos Reygadas' "Silent Light" (itself based on Dreyer's "Ordet") and the films of Robert Bresson, but his minimalism makes his meaning more elusive, inviting less emotion than those filmmakers.
It's difficult to feel transported by the impossible when the film's world is already so clearly governed by the arbitrary.
Controversial yet meditative French drama makes inscrutability its raison d'etre.
Inarticulate characters, long blank stares, forced camera angles and allegorical nonsense make up this pretentious study in quasi-religious ennui.
Maddening, pretentious, hypnotic and transcendent in roughly equal measure.
Despite its pictorial intensity and the extremity of some of its scenes, the film proceeds in a mood of detachment, turning the suffering physical beings under its scrutiny into abstractions.
Hors Satan is stark, strange and uncompromisingly personal. It's also vivid and unforgettable.
As its title suggests, Satan grapples with the existence and nature of evil in the world, but it's hard to take such weighty matters seriously when they're explored with all the subtlety and grace of an anti-abortion pamphlet.
Dumont's rigorous, serious attention to the mysteries of good, evil, and faith rewards those willing to be confounded.
Ultimately less an arty provocation than a secular invocation, Outside Satan seems almost helplessly exploratory, an honest account of groping for grace.
Provocative French filmmaker Dumont pushes boundaries even further with an astonishing approach to the Christian narrative (the title translates as Outside Satan), mixing the sacred and profane to shake up audiences and get us thinking.
The problem with "Outside Satan" is that the filmmaker has remained faithful to expectations without enlivening them.
Bruno Dumont's employment of his bucolic French backdrop here attends to Hors Satan's muddying spiritual ambiguity.
The film develops a powerful hold on the watcher as it progresses. But beware, it takes you on the weirdest of metaphysical journeys.
Audience Reviews for Hors Satan (Outside Satan)
An enigmatic young man (Dewaele), living in the marshes on the outskirts of a small town, appears to have healing powers. He is befriended by a young goth (Lematre), whose abusive father he shoots dead. As the film progresses, some fall victim to his murderous rampage while others are healed of their ills.
Last year Dumont left his comfort zone with 'Hadewijch' a Paris set tale of religious fanaticism. It was his most mainstream work yet, following what was basically a straight narrative. His latest sees him return to his usual milieu of unattractive faces set against the grim backdrop of Northern France. It's self-indulgent garbage, consisting mainly of our protagonists walking across wind-swept fields. As is the norm for modern French cinema, it's filled with violence, though not as graphic as the work of most of Dumont's contemporaries. The movie is not only grim to look at, but rough on the ears too, thanks to Dumont's insistence on naturally recorded sound.
Bizarrely, 'Hors Satan' shares a silly sight gag (a character pulled back comically by a wire after being shot) with 'Django Unchained'. It seems Tarantino saw this at Cannes last year.
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