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Piercing (2018)

Piercing (2018)

Christopher AbbottLaia CostaMia WasikowskaWill Brill
Nicolas Pesce


Piercing (2018) is a English,Portuguese movie. Nicolas Pesce has directed this movie. Christopher Abbott,Laia Costa,Mia Wasikowska,Will Brill are the starring of this movie. It was released in 2018. Piercing (2018) is considered one of the best Horror,Mystery,Thriller movie in India and around the world.

Outwardly, Reed leads a typical yuppie life living in a stylish apartment with his wife Mona and their newborn daughter, it afforded by a white collar professional career. But Reed has a need not only to kill, but kill in a specific way, with an ice pick. Rather than his initial target, he instead chooses as his victim an English speaking prostitute. On the pretense of an out of town conference, he leaves home, and instead checks into an upscale hotel, goes through the motions of the murder to ensure that that part of it goes off without a hitch, and hires his target prostitute through a service, the intended victim named Jackie. What Reed does not anticipate is that Jackie has her own agenda for their time together, which he at times believes is on her knowledge and acceptance of her fate at his hands. Regardless, what ensues is a psychological cat and mouse game between the two, it never clear who is the mouse and who is the cat.


Piercing (2018) Reviews

  • Great style, precious little substance


    From , the writer and director of , and based on the 1994 novel by (who also wrote the novel upon which the similarly themed was based), Piercing is a darkly comic psychosexual thriller. Partly a screwball comedy about a fastidious man's attempt to murder a prostitute, and his confusion and helplessness when he realises that that prostitute is far more disturbed than he is, the film dares the audience to attempt to figure out who is in charge at any given moment, and to ponder whether one (or both) of these characters would actually be quite happy to be the other's victim. Purposely made to look like a sleazy seventies skin flick, the film's sense of nostalgia drips off the screen, manifest in everything from the music borrowed from giallo films to the art-deco production design to the patently fake urban skyline to the lurid opening credits (complete with retro "Feature Presentation" card). In this sense, Pesce is a stylist, in the best sense of the term. However, at the moment, he's a stylist without much to say; as in The Eyes of My Mother, he is unable to match his not-inconsiderable aesthetic acumen with any kind of significant or tangible emotionality. The two leads are not necessarily the type of characters we're naturally predisposed to feel empathetic towards, but we surely must be expected to feel something. Anything. However, with no real sense of psychological verisimilitude nor much in the way of interiority, they remain essentially blank canvases, and primarily for this reason, the film feels more like a sketch than a finished product. Set in a non-specific city, the barely-there plot concerns Reed ( ), who decides he is going to kill a prostitute in an attempt to purge himself of the thoughts he's been having about murdering his own baby. Planning every aspect of the murder, he rehearses everything from how long the chloroform will leave her unconscious to how best to carry her to the bathroom to begin the dismemberment, and records every detail in a small book. However, when the time comes to do the deed, things go down-hill fast, as Jackie (a superb turn from ) isn't entirely sane herself. Partly a film about coming to terms with desires deemed fetishistic by society, and partly an erotic thriller about two people who seem genuinely confused as to whether they're teammates or opponents, the film's most salient theme is, perhaps, the issue of sexual consent, and how easily muddled it can become. It's a brave theme to take on in this post MeToo era, with the film daring to ask whether consent should still be applicable if a person has consented to something harmful to their person, even up to the point of consensual homicide. Although there's no cannibalism in the film, the storyline reminded me a little of the 2001 case of Armin Meiwes, who murdered and ate Bernd Jürgen Brandes with Brandes's complete consent. The film doesn't deal with the case explicitly, but the shifting sexual power-play between Reed and Jackie, and the fact that at least twice, one of them believes they've been granted permission to murder the other, raises similar moral issues. Within the parameters of this theme, one of the most obvious aspects of the film is its sense of humour, with many of the laughs coming from how utterly anal Reed is. Half Patrick Bateman, half Frank Spencer, once an unpredictable human element is introduced into his scheme, he finds himself unable to think on-the-fly. As his meticulously laid plans go up in smoke, he proves comically inept at handling any kind of interpersonal relationship. However, the fact that most of the comedy lands on his shoulders throws into relief perhaps the film's most egregious problem; although a good 90% of the narrative is told from his perspective, there's precious little to his personality. Granted, a couple of final-act flashbacks fill us in on why he is so obsessed with murder, but his character simply isn't capable of filling out the film's 81 minutes. And there's less character detail on Jackie than there is on Reed. Despite this, Wasikowska gives a superb performance, all facial tics, unspoken volatility, and nervous mannerisms, with an almost balletic way of moving. The problem for me is that nothing in the film really lingers - and when some of the imagery is this extreme, it should definitely linger. For example, I've never been able to completely forget my first viewing of Ôdishon - not because of the violence per se, but because the film spends so long building up the character of Aoyama ( ), so that when those needles and that wire saw come out, you absolutely feel the weight of what is about to happen. In Piercing, I don't really think there's any depravity that Reed and Jackie could have inflicted on one another that would have provoked an emotional response, because I didn't know them, and therefore was unable to care about them, as people. Aesthetically, however, there's a great deal to praise here, with the sound design particularly inventive. During Reed's rehearsal of the murder, he goes through the entire act, from the initial drugging to the dismemberment. On screen, we see him pantomime the actions, but on the soundtrack, we hear the disturbing foley of everything - so as he's miming sawing, we hear a saw cut through flesh and bone. It's a brilliant way to place us firmly within his subjective experience, and it also serves to remind us that the innocent looking Reed is very much planning to do real harm to someone. On a similar note, the music is absolutely top notch. Eschewing an original score, the film instead employs pre-existing tracks primarily from giallo films, including 's scores for and , and 's score for . The visual aesthetic is oftentimes as impressive as the aural. Exteriors (of which there are very few beyond the opening and closing credits) are obviously miniatures, with very little effort to make them look photorealistic. This sets an otherworldly tone right from the start, as if the film is taking place in a slightly alternate reality, as the real and the fake mix together in Reed's confused mind. Interiors are blank, as if they are show-houses, not actually inhabited by a flesh and blood person - one shot, for example, shows a drink's cabinet where the bottles have no brands, just the name of the alcohol. Again, this sets the film's reality apart, as if everything is happening just outside our own world, or our own conception of the world. There are also a couple of nods to the master of body horror, - a stomach wound pulses and expands as if breathing, a gigantic beetle crawls out of a toilet and infects a character's face, scissor wounds are curiously fingered, a character's ear is split open with a tin opener. It's all very Disney! Ultimately, however, Piercing is more interested in aesthetics than exploring the psychology of the characters. The increasingly extreme goings-on are never anything more than a jokey end unto themselves, with the psychological path that has led the characters to these extremities relatively ignored. With Pesce focused on comedy beats, there are certainly a few laughs, but there's precious little substance. He's undoubtedly adept at evoking the most absurdly grotesque comedy, but he is, thus far in his career, equally as uninterested in developing character or plot. And for that reason, the film comes across more like a calling-card than a self-sustained and complete product.

  • Senseless


    It's half-way nostalgia style fetish, half-way sadomasochist play, and halfway thriller, where nothing works in full. To be fair, the only fully developed thing is the lunacy the characters, which renders the movie pointless in a charicatural word where nothing needs to make any sense. No one to root for, nothing to expect but more lunacy. At some point all we hope is that he won't kill her, because that would mean we are left alone with the main character - a dorky, flavorless average Joe, wrapped in a velvet-coated mess.

  • Pointless


    This certainly isn't horrific, and neither is it thrilling as billed. It is a bland attempt to create some kind of arty suspense film that fails. The 'story' (for what it is) is just a series of 'things' that happen that have no context or sense with no relation to each other apart from being in the same space. Going by the end credits this film has a massive crew - for what I have no idea. In the end, it became tedious and intensely boring to watch. One to miss.

  • Retro-styled horror-thriller, which will divide opinion


    This is an example of a recent type of movie typified by Amer (2009), The Strange Colour of your Body's Tears (2013) and The Love Witch (2016), which derives much of its aesthetic and aural influence from the Italian giallo films of the 70's. Being a confirmed sucker for this sub-genre, I pretty much immediately cut Piercing some slack more or less straight away. The soundtrack includes music from the likes of Goblin and Ennio Morricone, which adorned giallo classics from the past, while the look was reminiscent of this period too, with decidedly retro décor and devices, including a yellow (giallo) phone and record player. The 21st century doesn't encroach much in this movie. It has to be said that its chief strength is certainly in its look and sound, which also includes extensive use of Brian DePalma inspired split-screen too. The story itself additionally recalls elements of the Japanese horror Audition (1999). It is about a sociopathic man who stops short of murdering his baby daughter when he thinks he hears her talk to him, impelling him to murder a call girl. Consequently, he books a hotel room and hires a girl but the trouble is that she seems to be as deranged as he, leading the spider to become the fly. Christopher Abbott and Mia Wasikowska star in this one, with very few other actors appearing. It is a very minimalistic affair story-wise, in what boils down to a cat-and-mouse narrative. Truthfully, the story is probably the weak point here, as it doesn't particularly go anywhere and could have done with a bit of extra development I reckon. There isn't quite enough meat to it to ensure it is entirely satisfying. Still, even though I have some reservations, I did enjoy this one nevertheless. I appreciated the giallo influence (even though it certainly is not a giallo itself) and did like the overall visual presentation. Some scenes were particularly well done, such as the bad trip sequence, and it does have a somewhat off-kilter feel to it in terms of atmosphere and performances throughout. One thing is for sure though, this one is going to be very divisive, as its flagrant disregard for narrative will put a few folks well off but if you don't mind that too much and have a love of the flamboyant style of the 70's Italian thrillers then this one should at least tick a few boxes for sure.

  • Style over substance


    I like the 70s style to the film and the send off of Hitchcock but not the substance of the plot and the failure to ultimately deliver, especially the ending... although there were things to be admired about this film

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