[critical] THE NEW WILD

TheNEW WILD fonctionne as the A TOUCH OF SIN de Zhang-ke Jia : it is also a film in sketches, whose topic would be : the violence in different forms.

But unlike the chinese movie, THE NEW WILD do not seek to suggest by the picture of the social state of his country (or at least very very little). The film by Damian Szifron is rather directed toward the viewer, creates a large eight unpredictable plays with the codes of narration, our nerves, and all with a lot of humour.

The introduction of the film, as often in this cannes selection gives the tone of the movie.

I’m going to try to summarize it to make you want to run to see what can happen after.


So the movie starts off on a woman who works in an airport. Arrival at the counter, she would reserve her volume Request if, by chance, she will earn miles. We replied : no, his ticket is booked by his company, to a fare that does not allow it… Dialog weird, but OK. It, therefore, settle in its place, in the plane. A guy mate of his ass, the other initiates the conversation. They realize during this little phase of seduction, having an acquaintance in common, Gabriel Pasternak.

The flirty, a former member of the jury of a conservatory, has moved Pasternak during an examination. The woman, following them from the airport, explains that it is his example another lady, sitting on the seat in front of them behind the ear, recognizes the name, explained that she was the teacher of this bad boy, Gabriel Pasternak. And then the type of the seat front also claims to know him (haha in the room), have martyred in class, until every passenger realizes that her place in this plane is not accidental, and that all have this moronic Gabriel Pasternak in knowledge.

The hostess at this time explains that the famous Gabriel locked himself in the cabin of the pilot ; The plane begins to shake. One of the passengers, a shrink, tries to reason with him, explain to him that it comes from the behavior of his parents, that he is sorry to have scammed… His ex, take this opportunity to apologize for having deceived you… With the type of the background, the one who matait her ass, a little bit earlier (er-HAHA)…

Suddenly, change of scene : two old sit on the edge of a swimming pool, reading and sunbathing. In the distance, in the sky, a dot grows bigger, even a little, a little more… … … This is the plane of Pasternak !!!!

He moves closer, closer, closer, CLOSER, and then freeze the image when the PLANE (yes, yes, a boeing, a thing very big what.) happens a few inches from these little old, the screen, of us.

Music and generic on this awesome image :



Therefore, this introduction is the prototype of each of the sketches in the film. Each of them works like a puzzle. Several elements are given to the spectator, or rather no element is risky – we feel the influence of Almodóvar producer ! As the dialogue / actions of the characters, we begin to glimpse that which will be the source of the violence, until suddenly, it shows itself to us.

The various skits of the film THE NEW WILD are more or less active / passive.

Passive when some of the stories are forced to simply observe what is going to manifest the violence : it can be calculated, impulsive, or logic, but always unpredictable and explosive.

Some sketches give in the graphic violence and visceral. Others examine the behaviors, actions and words, show the hand of dark souls, vicious, individualistic, or simply revanchardes (Gabriel Pasternak, HAHAHA).

Some combine the two. The sketches have in common that all successful, thoughtful, based on a science of detail and of the dialogue of a remarkable precision.

It is at this level that as a viewer, one can be an actor in the film and begin a process of decoding of the film, without doubt less fun, but otherwise challenging. Damian Szifron has actually clues inside of his sketches, shows the precision of its staging, the precision of both story and technique.

The frames still show what it takes without making the details on-brilliant ; the actors, precise, and subtle when it should – or conversely not at all, are CONSTANTLY on the verge of a nervous breakdown. We have a lot of fun to look for the tipping points, already in their expressions, and then in the storyline of skits. These are almost all in the form of the huis clos, the characters are generally prisoners of their environment, and thus forced to confront them. Hence the importance of the placement of cameras, perfect.

The photo is homogeneous, but the wife strictly the genre of each story (imitation western, parlor game in the mid-bourgeois, urban drama, etc.). Finally, the music, or more precisely, the sound score, very accentuated, provides a lot of elements to both comic and revealing of the state of the characters.

“The comic effect is particularly related to the effect of surprise. This double emotion recurrent is the great strength of the film : a source of pleasure continually fueled by the finds visual and story of Damian Szifron.”

Finally, Damian Szifron manages to avoid any repetition, and to give a glimpse that appears to be comprehensive of the possible reactions to the other, which gives an overall impression of his film.

Better, on the last sketch, Szifron takes a train to advance, provides, with reason, that we, the viewers, have understood the functioning of his film, and takes down the reasoning that we begin to do so. He even goes so far as to play with our nerves in modulating radically the pace of this last scene, so as to make them completely unpredictable to its resolution. Where the small disappointment to the final, linked to the decline plan great in terms of staging, but also fatal to the overall energy of the film.

THE NEW WILD is the first true shock of the Cannes film Festival 2014, taking the advantage of offering a real entertainment mastered and complete, on the theme of violence.

The film, without intellectual pretensions, not likely to be rewarded for something other than his script and its staging, but it is a true enjoyment compared to the much more classic, other films in the Cannes selection.

Original title : Relatos Salvajes

Realization : Damian Szifron

Scenario : Damian Szifron

Main actors : Ricardo Darín, Oscar Martinez, Leonardo Sbaraglia

Country of origin : Argentina

Released : September 17, 2014

Duration : 1h55mn

Distributor : Warner Bros. France

Synopsis : Film in sketches on the theme of violence and savagery.

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