CANNES 2021: Bloody Oranges “Oranges sanguines”
CANNES/MK2Bloody Oranges “Oranges sanguines” – directed by Jean-Christophe Meurisse – might the most controversial and strangest of films to premiere at Cannes this year. For a film that starts so brightly and with such an energetic, possibly inspiring atmosphere, Bloody Oranges soon turns into a Tarantino Pulp Fiction-esque feature with constant tonal issues and thematic threads that often leave the viewer repulsed and confused.
There is so much potential in Jean-Christophe Meurisse. For the first ten or so minutes, the opening and starting story follows an elderly couple as they attend a dancing competition to fight off debts, but the film quite quickly devolves into a tone-deaf masquerade of rape, torture and general masochism for no reason aside from engulfing the viewer in onscreen terror.
It would also seem somewhat redundant to do so, as the central opening story also defines its longevity in such a manner but works in a more devastating and personalised manner. Compared to the other two intertwining stories that are often tough to stomach.
It begs the question of why such a film would need or want to explore such devious and tone-deaf stories, and after sitting on it for a day, the answer is still a mystery. Perhaps it is to create conflict, to question our inner selves or those who are neighbours or friends, maybe it's a pessimistic look at the world and what it offers those? That would all work if it wasn't for such a insensitive and often excruciating crafting of these sequences. Most notably, the feature has two rape sequences, and each one feels excessive and self-indulgent, with the only outcome a conscious one to make the audience feel uncomfortable; again, the question remains why? With how the feature wants to depict these scenarios and the lack thereof cultural and social parameters involved, it would seem redundant to explore these themes.
Granted, the respective performances are something to take stock of. Lilith Grasmug, for one, does an exceptional job with the extremes her character has to go through. Even in the tender scenes of exploring her self and sexuality are dealt with in a rather abrasive manner but have a form of respect and immersion that reflects a young woman of her age. However, it goes nowhere and turns on its head with what could be haunting social commentary but is never established and explored to such a degree. Olivier Saladin and Lorella Cravotta, who play the feature’s elderly couple, do a fantastic job. Still, they are strangely devoid of much screen-time and development once the film begins to pick pace, and as aforementioned, are sidelined for the majority of the feature to touch on moments that feel, to a point, vile.
Somewhere deep – and probably an entity that does not exist – lies a feature with tonal and social awareness. Unfortunately, Jean-Christophe Meurisse's Bloody Oranges completely misses the mark and enters into a territory so foul and incendiary it should be avoided at all costs. A true shame, as Jean-Christophe Meurisse, on occasion, crafts up quite a tender atmosphere with his choice of scene blocking and aesthetic, but all in all is undone with a tone-deaf and excruciating feature.
