Can you tell a rape-revenge movie from a feminist perspective? The lazy storyteller or analyst would say movies like I Spit on Your Grave are feminist because it involves a wronged woman wrecking righteous vengeance on her almost-assuredly male attackers. However, if you've seen I Spit on your Grave, or its remake, or any genre thriller where rape is treated as the inciting incident, you'll know these movies are hardly feminist. The protagonists typically exist to be objectified, then traumatized, then transformed into sadistic killers. It's not exactly the most nuanced or dignified portraits of sexual violence. French writer/director Coralie Fargeat attempts to give this tired trope a feminist spin with Revenge, a thrilling, grueling, wildly bloody good time. It's a thriller with real bite.Jen (Matilda Lutz) is enjoying a vacation with her boyfriend Richard (Kevin Janssens), who also happens to be a married family man. She's lounging around in a deserted bungalow for Richard's hunting getaway, a regular vacation he shares with his other pals Stan (Vincent Colombe) and Dimitri (Guillaume Bouchede). Jen makes herself at home and Stan, in particular, lusts over her. While Richard is away, Stan attacks and rapes Jen. Richard offers to set her up with a new life in another country but Jen refuses, demanding to go home. She runs off and is pushed off a cliff by Richard. Miraculously, she survives, and from there the three hunters try to track her down and cover up their misdeeds.It's a simple story but Fargeat has an uncommonly sharp command of her craft, knowing what exploitation elements to double down on and when it's best to show restraint. This allows Revenge to unfold with a natural sense of pacing and direction while still achieving a high level of thrills and satisfaction. I appreciated that Jen doesn't suddenly become an expert merchant of death. This isn't like 2013's You're Next (though the final act starts to dip into that film's black comedy of absurdity) where the damsel ends up secretly being a highly-skilled and highly-trained warrior. In Revenge, the self-entitled creeps think they have the upper hand throughout, constantly underestimating the resourcefulness and will power of Jen. Very early in the second act, the three men are on the hunt for Jen, so the movie becomes a cat-and-mouse thriller with each new set piece being its own engrossing mini-movie, adopting varying degrees of tone. There's a lovely A-to-B-to-C sense of progression to the plot as Jen confronts a new set of obstacles, all the while being hunted by three cocky sexual predators. There's great joy in rooting for a worthy underdog and also watching villains robbed of their own joy.Revenge easily taps into our desire to see justice befall some very bad people, and maximum carnage ensues. This is an outstandingly gory movie and the first I can recall in quite some time that genuinely forced me to avert my sight. Fargeat's camera gets you up close and personal to gashes and seeping wounds, enough to see layers of tissue and fat, and her camera lingers on the bodily destruction, forcing us to squirm in discomfort. It's highly effective and miraculously doesn't feel gratuitous. When the camera dwells on Jen's wounds, it's about her perseverance and strength. When the camera dwells on the wounds of the gents, it's about the extent of their outlandish punishment. There is a hallucinogenic series of gonzo, gory kills meant to goose the audience for extra fun, and it had me laughing after the third daffy dream sequence-within-a-dream sequence. The final act ramps up the bloodletting to an almost comic degree. Characters are literally slipping and sliding on the floor from the copious amount of blood spilled.This is a gruesome movie to watch but Fargeat knows what an audience wants to see and squirm over and what they don't. This is typified in how the rape is portrayed. For the beginning of the first act, the camera seems to adopt the perspective of voyeur, often perfectly framing portions of Lutz' body, notably her posterior. The men take turns leering at her but so has the audience at this point. It affects us with the male gaze. Then an increasingly agitated Stan harasses Jen. This uncomfortable sit-down is excruciatingly tense because we're waiting for him to pounce, but it also has an effective power because it illustrates the daily minefield women experience deflecting the unwanted attention and affections of men. She's desperately looking for safe ways out of the conversation that still save the man's ego, a tricky navigation so as to not upset one's toxic masculinity. The ensuring rape happens off screen as the camera leaves the scene with Dimitri who even turns up the TV volume to drown out Jen's panicked screams. For anyone who's sat through these kinds of movies, they often glorify the horror of the rape and can readily cross a line into icky intended titillation. Leaving rape off screen is practically admirable.Revenge is a cut above its genre ilk thanks to its strongly developed suspense sequences. Each set piece or confrontation presents itself in a memorable and different manner, requiring our heroine to use a different set of survival skills. Fargeat has a terrific sense of space, allowing the audience to understand the distances between the two participants. This allows the tension to simmer and boil as directed. Take for instance that bloody finale, which has an extended and very tense portion that revolves around two characters literally chasing one another around a circular hallway trying to get the jump on one another. That sequence doesn't work without crisp editing and a proper sense of space. The director also knows when to draw out a scene with long takes and a wandering camera that makes you nervous about what's going on where we don't see. There are some wonderful moments of anticipatory dread to amplify the suspense. Fargeat's smooth camerawork and sense of pacing allows the suspense to nicely develop, as she draws out the dangers for Jen and finds organic complications per scenario.The actors ably perform their parts and Lutz (Rings) is a future star-in-the-making. A lot of physical acting is required from her and she is highly persuasive in every moment. Her happiness early on is infectious, her discomfort is grueling, and her desperate escapes feel frantic and wild, more a realistic human being fighting for their life than as some slick movie character coasting on a divine sense of cool. Her second half onslaught of titular vengeance still manages to keep the character grounded and mortal; she suffers setbacks and grievous injuries during these fights too, yet she endures. The other gentlemen give strong performances displaying different degrees of toxic masculinity, entitlement, and hapless weaselness when exposed. Stan, who previously had been enjoying his turn as an unpredictable threat in preparation to raping Jen, becomes a big blubbering weakling. Belgian actor Kevin Janssens reminded me a lot of a younger Aaron Eckhart. The movie is certainly elevated a few notches thanks to the actors giving you strong rooting points.Revenge is a grisly, gory, and wild genre movie that will appeal to fans of indie thrillers but also extend behind that loyal clientele. Writer/director Coralie Fargeat demonstrates an innate understanding of not just the genre but the mechanics of suspense as well, engineering and executing terrific suspense sequences while keeping her familiar narrative fresh. I loved her attention to details (not just the gory ones) like the fact that Jen has these pink star earrings for the entire run of her vengeance. Fargeat understands this genre and its audience but also brings an empathetic, feminine perspective to our heroine's awful plight. I was impressed how grounded this movie remained with its characters even as they were losing a blood bank's worth of inventory. Even if you are more on the squeamish side when it comes to blood and gore, I'd recommend Revenge as an above average thriller that only becomes more satisfying in execution.Nate's Grade: B+

The blood flows freely in Revenge, a stylistic directorial debut on the rape-revenge genre with a committed performance by Matilda Lutz

I really enjoyed this film! one of the more powerful films in the sub genre category. Very , very entertaining. some scenes are far fetched and will lead you to think its an entirely different type of movie.

'Revenge' is a good old-fashioned revenge story that is both beautiful and gory.

awesome movie..must watch

It's a polarizing movie, so people will either love it or hate it. There are moments of extreme gore and blood, and it can be hard to watch some parts - but overall it's an amazing film. I do wish the female lead had more speaking parts. Satisfying to watch her transformation.

Brutal and beautiful.

I think it is pertinent to start by stating that I find this schlocky, exploitative B-movie tremendously thrilling and gripping, and the fact that it was brilliantly made by Coralie Fargeat, a female writer-director, and is partly in English and partly French (with subtitles) means that I only need to feel half as guilty enjoying the gratuitous sex, which in this case leans towards the male instead of female nudity; and the bloody, imaginative and gruesome violence that many, including me, will have difficulty watching without flinching. While the performance and delivery is on the level of B-movies, thankfully, this isn't a film with much dialogue as it lets the action do most of the talking. The premise is simple: a couple having an illicit sexy weekend at a remote lovepad is interrupted by his hunting buddies who arrive earlier than expected and very, very bad things then happen. The end result is like if a hyped-up Tarantino remakes The Accused, or maybe I could say the bastard child of I Spit on Your Grave and The Most Dangerous Game, if I had seen either of those films but I'd imagine I'm that far off wrong. This is a film that strives to ground itself in realistic and believable storytelling, and for the most part it succeeds, except for a couple of times when it lapses into horror film clichés and the one small cauterization-related plot point that I have to make myself suspend my disbelief upon, otherwise, this is visceral and uncompromising, wicked and rather satisfying to watch, and I would even say fun too if it didn't left me feeling rather traumatized in the end. Recommended but considered yourself warned.

Nothing more pleasing than seeing a bunch of chauvinistic pigs getting slaughtered.

Não é esse filmão todo que tão falando..mas que é sangrento pacas e divertido..isso é.E a protagonista é linda demais! :D

Seems the French have gallons more blood in their body than the rest of us Homo Sapiens. Jen is wonderful eye candy and adds an extra star to this nice average 2 1/2 star revenge flick. I don't think high enough of it to ever watch it again though, once is enough.

it's like all the other revenge films; same thing happens - she gets raped & almost dies, but doesn't & somehow manages to kill the men responsible. it's well done, no doubt, but it's nothing new.

You can tell that, from start to end, the filmmaker is having the time of her life. This movie is oddly enough, so much fun. The camera work, sound design and score are out of this world. The movie goes in such strange directions and escapes the realm of realism so quickly and with such gusto. It embraces the grindhouse roots of its narrative and really goes all out. From the cave scene to the final battle, this movie is one to be remembered.

Coralie Faregeat's cinematic writing & directorial debut "revenge" is kind of like a hyper-condensed version of Kill bill (both plot-wise as well as sytlistically as this is the most garishly hued, spectacle-scene-laden material since quinton tarantino put uma thurman in her iconic yellow and black biker jump suit before slaughtering nearly 100 yakuzas in single combat...but I do not digress, because our americana billboard of a protagonist, Jen, spends the entire film adapting to the situation no matter what regardless of how painfully bleak things get - and they are certainly bleak and only get more grim as she hobbles in tatters to try and survive the ridiculously twisted yet believable situation she is thrust into with no warning - and the moment you think you know what is about to happen next, or how things will end, Faregeat never misses a beat to to give you some visual smelling salts that suddenly have you too frenzied and invested in the goings-on to start wondering or predicting who will make it or if any one will. If last year's best french horror film, raw, which was considered by myself to easily be one of the best overall genre films last year not just from france or an independent backing, was the "veggie/vegan" film that was as bloody & ruthless with its visuals as it was intelligent with its substance (and style) approach, than revenge is 2018's answer to the brazenly ambitious american dream we all know is a bad joke but it also manages to also throw shade at other countries and cultures who would just as easily look at said audacity and mock said american dream. what can i say, i'm a sucker for a storyteller who wallows in absurdism like the world will end if they don't layer it thick, and this is one nasty film with a bite, a few kidney shots, a self-cauterized stabwould with some campfire-heated beercan-alum that is everything hacks such as lars von trier are too self-involved to make, not matter how often he tries only to get 80% home free and then shamelessly reminds us that only a first year film student would think lars von triers work is anything worth watching. But this? this is some potent peyote-wielding kickass while literally and metaphorically decomposing highlighted with vibrant warm shades of indigo, violet, teal, and pink layered throughout the screen as if to counterbalance the brutal and sickly feral violence that befalls the one female in the film. if you haven't watched it by now, or even if you have, just do yourself a favor and stop whatever banal task you're doing and give this a go. hell, watch it with a loved one, the perfect date movie in an odd kind of way. Cheers.

Gives the narrative arc and visual tropes of male psycho-sexual dominance a much-needed makeover.