Saturday, 14 January 2017

Vinyan (2008)

Vinyan is frustrating, with a harrowing and believable performance by Emmanuelle Beart wasted in a film where writer and director Fabrice du Welz hints at things but seems unable or unwilling to commit to them

The story centres around Paul (Rufus Sewell) and Janet Belhmer (Beart), a European couple living and working in Thailand, trying to get over the loss of their young son Joshua in a tsunami. After Janet becomes convinced Joshua is in a video of orphans in Burma, the pair head out there to investigate, along the way getting mixed up with con men, Triads, and other assorted local characters, all the time slipping further and further into madness.

Beart gives an intense performance, very convincing as a woman suffering every parent’s worst nightmare and being unable to cope with the loss. The only real problem with this is that she starts as already disturbed and has nowhere to go with the character. Sewell just does his best to keep up, playing as a man watching his dream life turning into a nightmare.

As with his previous film, Calvaire, Fabrice du Welz is long on stylish visuals and short on strong gripping narrative that makes a lot of sense. From the opening sequence set underwater, with just a few bubbles going past the camera (foreshadowing the tragedy that strikes of Joshua), to the dingy neon lit underworld of Thai bars and clubs, to the menacing Burmese jungles, the film always looks great.

The problem lies with the script, which is all over the place. It hints at many things, but never properly develops any of them, and the lack of character development makes the denouement somewhat puzzling. The film's title refers to the belief that when someone's death is particularly horrible their spirit becomes lost and confused, and they become Vinyan. Obviously, we are meant to link this to the death of Joshua, but then nothing further happens with this idea.

The trailer for Vinyan may have led you to think that this is a straight horror film, and the subject matter and spooky atmosphere suggests Don't Look Now, although it has none of that film's emotional impact.

The jungle setting and gory scenes also hint at another horror connection, that of the gut munching likes of Cannibal Holocaust or more recent efforts like The Green Inferno. Like many of those, in Vinyan, there is very much an "us and them" feel, the civilised white people versus the savages, with the latter never being humanised, and nearly always being shown as a dangerous swarm of insects.

Ultimately Vinyan feels like a film that could have been either a haunting meditation on loss, a disturbing horror film or even just a simple gore fest, but the lack of focus means it is none of these.

Vinyan - Bande-annonce (VOST) by Ecranlarge