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Title: Chaos (2001)
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| Cast overview, first billed only: | |||
| Vincent Lindon | ... | Paul | |
| Catherine Frot | ... | Hélène | |
| Rachida Brakni | ... | Noémie / Malika | |
| Line Renaud | ... | Mamie | |
| Aurélien Wiik | ... | Fabrice | |
| Ivan Franek | ... | Touki | |
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Michel Lagueyrie | ... | Marsat |
| Wojciech Pszoniak | ... | Pali (as Wojtek Pszoniak) | |
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Eric Poulain | ... | Le jeune policier |
|
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Omar-Echériff Attalah | ... | Tarek |
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Hajar Nouma | ... | Zora |
| Chloé Lambert | ... | Florence | |
| Marie Denarnaud | ... | Charlotte | |
| Jean-Marc Stehlé | ... | Blanchet | |
| Léa Drucker | ... | Nicole | |
A bourgeois couple, modern yet conventional. One night by accident, a young prostitute barges into their lives. Hounded down, beaten up, threatened, she will continue to struggle, with the help of a well off lady, first for her survival-her resurrection-then for her dignity and freedom. Stormy encounters for everyone involved. Written by <aelsilva@studiocanal.com>
It's funny; the two best films I've seen this year (sadly, CHAOS has only just made it to the Midwest United States in 2003), are both from France. Not only that, but none of the American films I've seen thus far even come close to this or Gaspar Noe's IRREVERSIBLE. Maybe we should rethink that stupid freedom fries thing and go seek out some real culture. CHAOS is a great film, a film that wastes no time. It starts with a bang when an Algerian prostitute named Noemie begs for a ride from Paul and his wife Helene as they drive by the scene of her merciless beating at the hands of three pimps. Paul locks the doors and, after the pimps have gone, leaving Noemie unconscious, gets out of the car only to wipe the windshield clean of the inconvenient blood Noemie has spilled upon it. A perfect opening to this film, showing the frailty of women at the hands of dominating men, and the inhumanity and selfishness of said men. As a human of the male persuasion myself, I was surprised to not feel any resentment toward the film's representation of manhood. It does not try to convince the viewer that all men are like this; just all the men in this film. At the same time, many men might feel uncomfortable at the incisiveness of the film's characterizations. At one point Helene says, "Not all men are bastards"; Noemie merely shrugs and smirks ever so slightly. It is more telling than a thousand words.