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Mon 8 Aug 2022
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On the island of Tahiti, raffish high commissioner De Roller (Benoît Magimel, The Piano Teacher) moves through shady nightclubs and the entitled establishment, hatching plans to build a casino even as he’s enveloped by a growing paranoia. As he begins to have visions of phantom submarines against the horizon, De Roller fears the return of the nuclear testing that ravaged the region.
A sensation at this year’s Cannes, where it both electrified and divided critics, the latest slow-burn masterwork from Serra (The Death of Louis XIV, MIFF 2016; The Story of My Death, MIFF 2014) stares deep into the heart of man’s evil, unfolding on screen like a beautifully rapturous nightmare. De Roller’s crumbling reality is a fugue state haunted by shadowy club barons (the unsettling Sergi López, Pan’s Labyrinth) and tender romances (rae-rae actor Pahoa Mahagafanau, revelatory as a dance choreographer) – a world that Serra transforms into his most evocative, most unshakeable work to date.
Serra’s bizarre epic is a cheese-dream of French imperial tristesse, political paranoia and an apocalyptic despair. It is a nightmare that moves as slowly and confidently as a somnambulist.
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