This 2007 French film was recommended for me to watch because of my interest in justifying the artistic element of films notorious for their shocking content, as any of my regular readers can attest to. I went into it expecting your standard shocking content, a little story, and a number of yawns for myself. Instead I was treated to perhaps the best horror film I've seen since Audition.
Our protagonist Sarah, played by Alysson Paradis, is on the verge of going into labor, a few months after a car crash took away her husband. She's none too excited about it either, but appears to have a supporting circle of people including her mother and boss. On Christmas eve she goes home alone, planning to be induced in the morning, but our film's villain has other plans. Our villain for this picture, the unnamed monster portrayed by Béatrice Dalle, decides to stalk and attack the expecting mother. For an hour they play an oscillating game of cat and mouse with a myriad of pointy household objects, with guest appearances by local police and civilians. The acting by everyone in this small cast is capable, if not particularly noteworthy. The two main characters, Sarah and her attacker, are the best of the bunch, portraying their pain convincingly. Dalle in particular gives depth to her character with her guttural, almost child-like noises and cries.
The film is beautifully shot, with an emphasis on color and extended static shots. The use of angles and colors to evoke certain emotions and feelings in the audience is masterfully done, keeping you glued to the seat even when trying only to watch from the corner of your eye. The lighting, the cinematography, the angles, everything technical about this is great. The gore, something usually overlooked in exchange for great artistic direction, is absolutely convincing in this film. There was not one point at which I was taken out of the film by an obvious special effect. The audio effects are similarly well done, while the soundtrack is good, but not especially memorable, save for the closing scene. Surprisingly, the most convincing effects, for me at least, were the CGI scenes of a fetus in utero.
Inside may be using a pregnant protagonist as a gimmick to gain sympathy from the viewer, since we don't know enough about her to identify with her otherwise, but it isn't employed without purpose. Sarah's baby is an active plot point, arguably the focal point of the entire film. The symbolism of having the film take place on Christmas, as well as a slew of other symbolic elements, all come through clearly, adding to the effectiveness of all the hits to the psyche that this movie delivers.
Inside is one of the only movies I've ever seen to have me shifting uncomfortably in my seat, putting my hands over my mouth, turning my head, and wanting to close my eyes. Other films may have been more graphic, more violent, more sexual, more disgusting, but usually these things are used like a carnival sideshow. This film happens to be gorey, but not unnecessarily so. This movie is great. Great story, amazing atmosphere, real suspense without reliance on jump scares or cheap and excessive blood, and with a twist ending that'll hit you like a toaster to the cranium. 4.5 out of 5
****.5 out of *****
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