Revenge is given its edge by the most immaculate use of colour

Coralie Fargaet’s Revenge doesn’t need a plot. Nor does it need flowing dialogue or lengthy character introductions. Instead, Revenge is a film entirely based upon its own actions. Everything that happens, particularly to star Matilda Lutz, is a direct result of a previous action, and this connected, quick and ever-advancing style of storytelling makes Revenge an incredibly advanced horror movie.

Richard (Kevin Janssens) is a billionaire, holidaying in his remote villa with mistress Jem (Matilda Lutz). When two of Richard’s friends arrive for their holiday early, the pair become a four, partying late into the night. However, Stanley (Vincent Colombe) makes a terrible advance on Jem the next morning, and when she runs away, all Richard can do is aid his best friend in destroying their problem. Yet he soon comes to wish he had carried the job out a little cleaner.

Revenge

Revenge is given its edge by the most immaculate use of colour. From beginning to end the film radiates heat, leaving behind a dusty, muggy and vivid trail of incredible colours. Standing out against the repetitive desert backdrop, there is an immediate appeal to the cinematography radiating in every single scene. It is similar bold stylistic choices throughout that make Revenge the force that it becomes.

Matilda Lutz is defiantly commandeering from Revenge’s major turning point, and it is this change that puts the picture into its highest gear. The quickening pace and constant chasing sway the film into a particularly energetic style. One that only compliments the cinematography and takes the story to a more primal and purposeful place.

The end sequence is both disgusting and mesmerising and truly makes Revenge the marvel that it is. It’s predictable, yet there’s enough tweaks and surprises to offer up plenty to dazzling entertainment. The horrific imagery is juxtaposed against the film’s love of tone, and in the few moments of down time, Revenge falls back on its colour palette as if nothing else matters.

5/5

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