We’re in a time where artificial intelligence is increasingly becoming part of our day-to-day conversations, so we should expect a reaction to this cultural moment from the world of cinema. French auteur Bertrand Bonello is making his statement on the matter by loosely adapting the 1903 novella The Beast in the Jungle by Henry James. Simply titled La Bête, the science fiction drama follows Gabrielle (Léa Seydoux) across three separate narrative strands, exploring her connection to acquaintance Louis (George MacKay) in each.
In 2044, civilisation is controlled by AI and humans are considered ‘useless’. Gabrielle is at a clinic to undergo a DNA purifying procedure to rid her of her feelings, and part of this intense process means she must embody alternate versions of herself. One is the high society wife of a dollmaker during the lavish Belle Époque period in Paris, while the other is a model that aspires to be an actress in 21st century Los Angeles.
Not only does the piece span time and place, but it also shifts between genres in Bonello’s indefinable vision. From period romance to home-invasion thriller through the lens of a Black Mirror-esque premise, there are a lot of themes at play. It’s not without moments of intrigue, like the discussion around the neutral expressions on the faces of dolls, transitioning from porcelain to rubber and giving a dark foreshadowing to mass manufacturing and the emotionless future of humanity that looms. Another positive is MacKay’s eerily compelling contemporary guise; an incel vlogger that feels plucked from the wicked pages of a Bret Easton Ellis novel. However, the film’s big problem lies in the frustrating incoherence of the writing. There’s a Lynchian surrealism in its organs, but not enough connective tissue between the complex layers of plot.
Seydoux and MacKay are terrific actors, and neither shy away from absurdity in the roles they choose. This ambitious film gives them free rein to play within a wide range of styles, and both relish the opportunity. MacKay’s performance(s) are particularly impressive, serving as a charming French-speaking love interest as well as an LA slacker gone bad. It’s a shame that their efforts are let down by the bewildering material, leaving them floundering in artistic limbo with no message behind the motifs.
Admirably daring but far too disjointed, writer and director Bertrand Bonello’s The Beast definitely colours outside the lines of convention. With strong turns from its leading pair and some beautifully captured scenes, there’s potential in the parts but the sum of which is a confusing miscalculation.
Cinema Perspective 