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Critics Consensus: Hors Satan grapples with weighty themes in uncompromising fashion, offering a viewing experience that dares to be divisive and delivers.
Critic Consensus: Hors Satan grapples with weighty themes in uncompromising fashion, offering a viewing experience that dares to be divisive and delivers.
All Critics (42) | Top Critics (12) | Fresh (33) | Rotten (9)
I find the movie mind-blowing, though it will likely alienate as many viewers as it impresses.
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.
This leisurely piece of acutely philosophical, existential cinema is reminiscent of the works of Tarkovsky, Bergman and Bresson, with Dumont yet again proving himself to be one of the great contemporary auteurs.
A tour de force of concentric filmmaking that functions as a searing document on the dichotomy of beauty and savagery at the heart of a bleak French coastal community.
A slow-moving yet compelling film.
"Hors Satan" is a film about finding moral bearings in a world where the old rules have gone awry, but it's also an opportunity for some vicarious tourism in seductive scenery.
A haunting meditation on a controversial way of dealing with religious matters by a healer posing as a holy man, who blurs the line between right and wrong.
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.
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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