"Fear X" is a change of pace and scenery for both Danish director Refn ("Pusher", "Bleeder") and writer Selby Jr. ("Last Exit To Brooklyn", "Requiem For A Dream") who mostly deal with violent urban decay and despair.
A shopping mall security guard, John Turturro, is trying to track down whoever shot his wife in the same mall. A co-worker supplies him with endless surveillance tapes which he watches over and over, while taking photos of blurry 'suspects' of the tapes. Little by little he collects fragments of evidence of the identity of the murderer. But "Fear X" is not a straight forward thriller with a crystal clear conclusion, it's more of a dark unsettling psychological journey of a man in need of healing for his loss.
Snowy Canada is stand-in for Midwestern small town Wisconsin in this independent film (co-produced by Denmark, Britian, and Canada) that has a "Fargo" look to it. The director's two first films was clearly inspired by the works of Scorsese and especially Abel Ferrara, but "Fear X" is less easy to compare to others. There's a conspiracy feel of movies like "Blow Up" and "The Conversation" but some of the surreal images in the end recalls David Lynch and vintage Polanski. The pace is subtle just like John Turturro's awesome lowkey performance which suits the film perfectly because you can totally identify and feel for his character's quest for the truth. Brian Eno's haunting score also fits the movie quite nicely and gives a feeling of genuine dread. Anyone who think all Danish movies are overhyped Dogme experiments shot on video by epileptic camera men are in for a nice surprise. The film is shot in beautiful scope by Kubrick's cinematopgrapher. The always reliable James Remar, whom I loved since "The Warriors", also deserves praise for his small but important role.
"Fear X" received some good reviews at the recent Sundance festival, and will hopefully find a larger audience. Refn still remains the most promising Danish director, in my opinion, because he totally operates outside the Danish trendy mainstream film circles with a genuine love for movies, from classic Italian cinema to hardboiled American crime flicks, which make his vision of filmmaking pretty unique in Denmark and Europe.
A shopping mall security guard, John Turturro, is trying to track down whoever shot his wife in the same mall. A co-worker supplies him with endless surveillance tapes which he watches over and over, while taking photos of blurry 'suspects' of the tapes. Little by little he collects fragments of evidence of the identity of the murderer. But "Fear X" is not a straight forward thriller with a crystal clear conclusion, it's more of a dark unsettling psychological journey of a man in need of healing for his loss.
Snowy Canada is stand-in for Midwestern small town Wisconsin in this independent film (co-produced by Denmark, Britian, and Canada) that has a "Fargo" look to it. The director's two first films was clearly inspired by the works of Scorsese and especially Abel Ferrara, but "Fear X" is less easy to compare to others. There's a conspiracy feel of movies like "Blow Up" and "The Conversation" but some of the surreal images in the end recalls David Lynch and vintage Polanski. The pace is subtle just like John Turturro's awesome lowkey performance which suits the film perfectly because you can totally identify and feel for his character's quest for the truth. Brian Eno's haunting score also fits the movie quite nicely and gives a feeling of genuine dread. Anyone who think all Danish movies are overhyped Dogme experiments shot on video by epileptic camera men are in for a nice surprise. The film is shot in beautiful scope by Kubrick's cinematopgrapher. The always reliable James Remar, whom I loved since "The Warriors", also deserves praise for his small but important role.
"Fear X" received some good reviews at the recent Sundance festival, and will hopefully find a larger audience. Refn still remains the most promising Danish director, in my opinion, because he totally operates outside the Danish trendy mainstream film circles with a genuine love for movies, from classic Italian cinema to hardboiled American crime flicks, which make his vision of filmmaking pretty unique in Denmark and Europe.