A camera crew follows a serial killer/thief around as he exercises his craft. He expounds on art, music, nature, society, and life as he offs mailmen, pensioners, and random people. Slowly he begins involving the camera crew in his activities, and they begin wondering if what they're doing is such a good idea, particularly when the killer kills a rival and the rival's brother sends a threatening letter.Written by
Ed Sutton <firstname.lastname@example.org>
The filmmakers were very nervous while shooting the rape scene. The actress who played the rape victim was very supportive of cause of the film, however, and let the filmmakers do their thing. This gave comfort to the crew; especially Rémy Belvaux, who was very shy about his nude scene. See more »
When Ben gets a holster for his birthday, he asks them to bring his revolver so he can try it out. But they don't bring a revolver, they bring him a semi-automatic pistol. See more »
Mom wasn't a musician! She got hers with a broom!
See more »
This movie is a piece of art: shocking and disturbing, while at the same time funny as hell in a raw "should-I-be-laughing-or-should-I-be-ashamed" kind of way.
It gives an insight in the very realistically portrayed life of Ben, a serial killer with an impressionable charisma.
Most people who commented on this film either love it or hate it. The division seems mostly geographical though: most Americans can't seem to understand the tongue-in- cheekness of this movie.
Probably it has to do with the fake-documentary nature of the movie, which is clearly western-european. Anyone who has ever seen American documentaries knows they have a different pace and way of treating images. Those who are used to belgian/french/ dutch/german documentaries will recognise the style of the so-called "intimate" documentaries.
The pivotal point is the moment a relationship develops "beyond" the documentary relationship of the filmmakers and their subject (they take Ben's money to finish the movie).
When watching this movie, try to imagine that this *could* be a real movie:
documentaries about terrorists, drugdealers, and even mercenaries (the closest thing to an actual serial killer) have been made, and some of them were very close to their subject.
It is *not* a "black comedy" in the classical sense of the word; more like a "Clockwork Orange" for the nineties. Where "A Clockwork Orange" bathed in the design of the seventies, this movie bathes in the "larger-than-life" invasiveness of modern-day reality-tv-style television. Anyone who has seen shows like "cops" or "Big Brother" will know what I'm talking about. It asks the big documentary question: in how far does the observed change the observer? It makes a statement, not about violence, but about the observer of violence. The way it is portrayed shows the art of the (very low-budget) crew: it grips your guts without fancy effects or gory protrayal of gore: it shows fear, despair and psychological emptyness, by showing emotions! This should be recommended viewing (and debating) to anyone making documentary films.
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