I was under the impression I was getting myself into something straightforward. I don't know why I thought that, but it's far from it. "MOON AND MIDNIGHT" melds the experimental French New Wave vibe of slow-burn psychological realism with faint horror strokes. This rural psychodrama follows a young couple visiting their friend and his family, whose strange dynamics point to something out of the ordinary, even disturbing with twisted elements of nymphomania, sadomasochism, sociopathy and folklore (the mountains plagued by the "Sadic", a homicidal killer with clawed gloves influenced by the leopard men of the Congo) done for most part in an implied manner, but when visible it's very low-key while still shrouded in ambiguity and malice.
Heavy on contemplative dialogues, long-winded interactions and raw locale color; the way the camera frames scenes, plain visuals and dark silhouettes. Distinctive faces and deranged personalities go on tell the story and set the mood. Going for weirdness over suspense. The narrative might come across sporadic and impulsive, matched by the editing, yet the lingering themes of family, social isolation and psychopathology come to the forefront in the psyche of the characters. Watching the transformation of one character (Sylvie Fennec), first being suspicious, uncomfortable and wanting to get away from the family, then slowly interacting, getting drawn into the unhinged activities and beginning to sympathize. Asking the questions just how much does the company you keep, the surroundings you reside influence the mindset and at what great lengths?
There are a couple memorable performances too. The gaunt Daniel Emilfork's father figure perfectly emit's a proud, if sinister persona when around. Always thinking about the well-being of his children, providing a controlled stability in his practices and having a devilish smile you'll never forget. Playing his eldest nympho-sadist seductress daughter, Beatrice Arnac is impressive and her vivid appearance, again like Emilfork, leaves an imprint.
Heavy on contemplative dialogues, long-winded interactions and raw locale color; the way the camera frames scenes, plain visuals and dark silhouettes. Distinctive faces and deranged personalities go on tell the story and set the mood. Going for weirdness over suspense. The narrative might come across sporadic and impulsive, matched by the editing, yet the lingering themes of family, social isolation and psychopathology come to the forefront in the psyche of the characters. Watching the transformation of one character (Sylvie Fennec), first being suspicious, uncomfortable and wanting to get away from the family, then slowly interacting, getting drawn into the unhinged activities and beginning to sympathize. Asking the questions just how much does the company you keep, the surroundings you reside influence the mindset and at what great lengths?
There are a couple memorable performances too. The gaunt Daniel Emilfork's father figure perfectly emit's a proud, if sinister persona when around. Always thinking about the well-being of his children, providing a controlled stability in his practices and having a devilish smile you'll never forget. Playing his eldest nympho-sadist seductress daughter, Beatrice Arnac is impressive and her vivid appearance, again like Emilfork, leaves an imprint.