Old salt Marko got used to meet alone though an ocean storm, though vital scrapes. News about ruin of the sister, suicide of her husband and the conclusion in a psychiatric clinic of the niece force Marko to set foot on land in attempt to understand with the reasons of such prompt crash of a family. The facts specify that Eduardo is guilty of crash, the business partner of a family, and Marko plans to steal up to the villain closer to strike more painfully. Eduardo’s who is bringing up the small son the mistress becomes the purpose of the man thirsting to revenge …
Claire Denis’s director does not recognize weakness neither in creativity, nor in life. This woman who has been brought up by work with Wenders, Tarkovsky and Jarmusch, is ruthless to the viewer, films at it turn out biting and uncompromising. And it does it by the special director, the author, whose statements often happen unclear or heavy so that the audience leaves cinema halls.
The picture was the participant of the last Cannes film festival in the program «Special look», but awards did not get
"Bastards" heavy film. Its weight consists at all in the maintenance of the events in a shot, though there is a place to very frank cruel scenes. Rather its weight consists in giving. The tape is initially so impregnated with the gloomy atmosphere that together with the digital image the picture becomes is almost impenetrable the dark. The painful gloom, almost total absence of semitones force to peer, look for even more fixedly than a point of support, sense of the events on the screen. However reception with Denis’s illumination it seemed insufficiently, and it added spectator tortures with fragmentary installation with the confused chronology. From time to time in linear narrations put shots from the past or the future of heroes, but to understand it at once it is impossible, the full picture is built only to the film ending.
As inspiration sources for Claire Denis’s film calls Faulkner’s novel "Sanctuary" and Akira Kurosawa’s tape «Bad sleep easily»
To the ending, however, it is necessary to be torn through thickness of the extremely tightened, viscous as kissel of history of revenge. Revenge, however, to call conceived by the protagonist not so correctly. He, it seems, wishes to understand an event with a family of the sister but instead of comparing a little enough obvious facts, rushes as a bulldog on the purpose specified to it. It is quite obvious that in the modern world it is difficult to construct unequivocally positive character, and therefore it is quite predictable "bad" (Frenchmen called the film exactly so, our film distributors strengthened pressing already) appear all. But the psychoanalysis which is thrown out to the finish to digest already there is no possibility – the film terminates in any macabre turn of a chernushny slesher of the category B. And this Dani it is really similar to Balabanov to whom at us it for some reason like to compare. This even not dirty linen exposed. These are the decaying waste, irrevocably spoiled human destinies, a hopelessness and a decay.
To actors in this gloomy vault it is the heaviest. Everyone separately – both Lyndon, and Mastroianni, both Bataille, and Syubor – as if on the place. Each of them has a substrate giving understanding to motives of their last acts and actions at the moment and predetermining their future. But, together or being crossed with each other, actors as if glass and a stone, gnash the friend about the friend, without cutting a spark, and, on the contrary, forcing to be bent from affectation and their incongruity in a shot. Marko with sister Sandra look people even more another’s, than casual passers, Eduardo and Rafaella are so dissatisfied the friend with the friend that it is impossible to imagine their joint life, even in the feelings which have arisen between Marko and Rafaella is believed with huge work – Chiara Mastroianni, certainly, the charming woman, but her heroine is enamoured only of itself, and therefore in her feelings to neighbor who has suddenly appeared in her life difficultly to believe.