Men, rating: Imagine if Lars von Trier directed the episode The League of Gentlemen …

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men. Honestly, what are we like? Well, if Alex Garland’s new film has a measure of us, you might rather not know. Garland’s stunning first project after his 2020 miniseries Devs is a blood donation modern folk tale in which male manipulation of women – belittling, emotional blackmail, dishonest perception of victim status and so on – is not portrayed as a discreet bit, but a related gesture. in an obscene, eoni old ritual.

His plot touches on the myth of the Green Man, whose leafy face hides in the stone walls of churches across Britain and Europe, and which Garland once again portrays as the primary symbol of male greed and evil: the eternal pervert in the bush, torn between desires. to attract and strike.

The film’s interest in male eligibility is also hinted at in Garland’s 2014 thriller about artificial intelligence Ex Machina, in which two confident technological types disconnected after not realizing that the woman they consider the main girl in their life stories is also her own protagonist. . But Men is a looser, more twisted, ridiculous, more nihilistic work – starting with the familiar, if polished rural pursuit, then turning into Rorschach’s crazy and relentless stain of pure corruption and horror, or perhaps the Gentlemen’s League of Episodes, directed by Lars von Trier. It’s the kind of film that thrills you in three ways at once: through the grim frankness of his themes, the cold precision of his craft, and the nightmare of his images.

It starts with a young woman named Harper (Jessie Buckley) a trip to the countryside after the loss of her husbandPaapa Essiedu), who died in circumstances that are initially difficult to decipher. The prologue shows a couple descending past the balcony of a London apartment with a confused rather than frightened expression on their face, even though his wife’s face is smeared into Francis Bacon’s screaming canvas due to rain of sprayed glass.

To recover from this shock, Harper booked a fourteen-day solo stay at the picturesque farmhouse Gloucestershire, owned by Geoffrey (Rory Kinnear), a reddish mustard string, and the type of Barbour jacket she playfully scolds on arrival for eating an apple from a tree outside in the garden. (I can’t do that. Forbidden Fruit, “he whines.) While exploring the local forest, he discovers an abandoned railway tunnel with unusual echoes: a moment of surreal beauty that collapses in panic when the silhouette of the passage finally appears and begins to flow toward it. .

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