The cannibal film or that troublesome subgenre depicting
humans eating one another’s flesh and blood, has gone all around the map. Whether it be the inception of the subgenre in
Cornel Wilde’s 1965 action-adventure The Naked Prey to its logical end
with the reprehensible Cannibal Holocaust, the cinematic depiction of another
human biting off and eating the living flesh of another human is generally
associated with exploitation horror.
But
around the 2000s with the then-burgeoning New French Extreme subgenre
spearheaded by such provocateurs as Catherine Breillat and Gaspar Noe, the face
of the cannibal film began to change considerably, bookended by Titane director
Julia Ducournau’s Raw and especially by High Life realisateur Claire
Denis’ French-English 2001 shocker Trouble Every Day.
Descending on his
former colleague’s home, he makes a startling discovery: Core may in fact be a
serial cannibal murderer with her devoted husband there to cover up her crimes
by hiding the bodies. Despite the
gravity of this, it proves secondary to the carnal animalistic impulses she
awakens in him after they meet.
Currently on Shudder’s streaming service, this corrosive,
elliptical, drenched-in-viscera exploration of the gulf between cannibalism and
carnality (often working as one) is at once an uncompromising work of feminist
art and a fearless headlong dive into sexual transgression. The kind of film that is difficult to talk
about plainly given its extremity, the film opening on a mournful opening cue
by composer Tindersticks has the skin of a moody French drama that gradually unfurls
to reveal its blood-and-semen soaked fangs.
As with High Life with Robert Pattinson, the film is an
uncomfortable fluid dripping confrontation and cornering of the viewer that
dares you to either walk out or shut the film off.
Dalle who has been a sex symbol in film for years before becoming one of
the faces of New French Extreme horror with Inside gives an astonishing
physical performance, almost transcendent as she moves about the cold interior
of the household casually bathing the walls in blood. Gallo generally plays an iteration of himself
in the movies, judging from Buffalo 66 and The Brown Bunny, but
here the character of a cold and distant doctor yearning for an unquenchable thirst
represents pitch perfect casting with Gallo.
--Andrew Kotwicki