Too Many Beasts earned a lot of attention at the Cannes Film Festival this year. It was even selected to be in the Directors Fortnight selection of the festival. This French film directed by Sarah Arnold is a dark comedy where the forest of northeastern France contains many elements of surprise. Too Many Beasts is the type of title that fits with Fantastic Fest. Corruption and animal chaos is what makes the film “fantastic” in a unique way.

 

There is a form of humility here that gets ravaged with revenge.  Too Many Beasts closes in on that theme, but in a way where seriousness and dark comedy combine with one another. It has French citizens, crimes with killing wild boars, and an angry officer trying to keep himself together. Conflicts spiral to brilliant heights in Too Many Beasts.

 

The film’s main character is Fulda, played by Alexis Manenti. He is an officer that has been demoted for a variety of reasons. His partner is Victor, played by Vincent Dedienne. They both work together to solve cases. For Fulda though, he is required to check in with a station psychologist named Stephane, played by Ella Rumpf. This requirement comes from his past behaviors while on the police force. The issue at hand is that there arebankrupt farmers and wild boars getting killed. Also, rights with licensing over lands come into play. All of this combines tocreate an uncharted territory of many unhappy folks. Fulda is the one trying to piece together the crimes while also navigating his own personal conflicts. Soon though, the issues begin to spiral out of control.

 

The one man that the town keeps on blaming for everything is Raoul Brun, played by Jean-Louis Coulloc’h. He has done things to hurt people or their property in the past, however, there are other binds associated. These are primarily among those who are hunting throughout the region. The film is a cat-and-mouse game with the police force, hunters, and wild boars. It is insane,vivid, and dark in a funny context. So much goes on that audiences will feel their head spin. The direction of the film has a context for its audience to not know what to believe—this blurred angle of writing is highly entertaining. From twists and turns to dead animals, there are new revelations around every corner in Too Many Beasts.

 

Even in the film, a character does say, “The problem is there are too many beasts!” That saying portrays a deeper meaning, because throughout the film the wild boars are not the only “beasts” in the town.  The ruthlessness is endless, especially with Fulda losing his mind and seeking redemption as an officer. To get the answers he wants, he has to dive deeper no matter what the cost. Three-and-a-half out of four stars for Too Many Beasts. A Fantastic Fest sensation.

 

For a film featured in Fantastic Fest, this one is in full-throttle mode with psychological and invigorating moments resulting in twisted sensations. Tensions are quiet and enticing in a European setting where there are lots of intriguing wrongs happening. Girl in the Night is a harrowing ride that makes audiences think. The film takes place in Slovenia and is directed by Luka Marcetic. He is not afraid to pursue his vision and make dangerous choices or push karma to an obscure and artistic level.

The film begins at a gas station.  The main character is Rok (Urban Kuntaric). Audiences will likely define him as kleptomaniac because his patterns of stealing and associated odd behaviors are frequent and discreet. Sometimes his actions appear pointless. There is a young girl who comes into his store all bruised up. She is played by Lara Wolf. She claims she has superpowers. That poses some questions for Rok. Does he believe what he is seeing? He begins to follow her into her mishaps and adventures. He realizes he sees a point of engaging in activities that negatively impact others. Granted his behaviors are wrong, but the cinematics of deceitful actions are tender in Girl in the Night.

The writing is all about petty crimes. The two create a bond over participating in regretful tasks and do all sorts of different activities. Rok even steals her bicycle, and she believes someone else did it. Fulfillment as vigilantes is like a rainbow of revelations in Girl in the Night. I found the film to be akin to a visually glowing ride of epic rollercoaster-like scenarios. The behaviors do not stop, and the meaning of the film does not either. The gold uncovered by their poor choices creates interesting rounds of miracles.

The emotions of happiness and dissatisfaction swirl throughout the story. The atmospheric landscape creates a fitting. Girl in the Night may rock audiences’ worlds because of the surprises that are revealed deep within the numerous nocturnal moments. For Rok, there is no real happiness. His personality keeps him from experiencing true excitement. The wrath of the young girl and the vigilante opens the door to a bizarre revelation. Girl in the Night is a unique ride for Fantastic Fest. Three-and-a-half out of four stars.