Director: Antonio Campos
Starring: Brady Corbet, Mati Diop, Lila Salet
Running time: 101 minutes
Certificate: 18
Extras: Behind-the-scenes footage, interviews with the director, producers and actors, THE LAST 15 – Campos’s Palme d’Or nominated short film, original theatrical trailer, booklet featuring an exclusive critical essay, interviews and pieces on the poster design.
Antonio Campos cut his teeth on 2008’s AFTERSCHOOL which delighted Cannes audiences and critics alike. Now his sophomore feature is being released as part of the Masters of Cinema series signposting his auteur credentials. SIMON KILLER (2012) follows its titular character – an American twenty-something graduate just out of a long-term relationship – as he drifts around Paris. It’s not long before Simon hooks up with naïve prostitute Victoria/Noura (Mati Diop – 35 SHOTS OF RUM), leeching off her (in pretty much every way) with vampiric intensity.
Brady Corbet is absolutely convincing as Simon, our dislikeable protagonist. How he speaks about his ex in the opening scene tells you everything you need to know about him. Simon’s a misogynistic manipulator who toys with others; a narcissist with borderline tendencies who could give AMERICAN PSYCHO’S Patrick Bateman a run for his (oodles of) money.
Simon’s nightly predatory roaming is heightened by Joe Anderson’s claustrophobic cinematography. The camera stays close to Simon, forcing us uncomfortably into his POV. But it’s handled with subtlety – when he approaches two young women walking home and latches onto them (the ultimate social faux-pas) we’re both embarrassed by his pitiful attempts at conversation and creeped out by his stalkerishness.
And that’s what works in SIMON KILLER – you’re not quite sure if he’s another awkward loser or a dangerous sociopath (at first anyway). It’s also the little things that make SIMON KILLER cohere, like his self-obsession revealed through dialogue when he repeats his thesis publishing credentials twice in conversation (later he says it was about something else entirely). It’s hard to know what’s true and whether we can trust the camera.
Where SIMON KILLER really excels is in its cinematography and soundtrack. Unusual framing and blocking, long takes and a colour palette of reds and blues all help create a sense of growing alienation while a soundtrack heavy on electro and new-wave gives Paris an edgy feel. It looks and sounds amazing.
But a real problem is just how vile Simon really is. He’s the ultimate liar: devious and unreliable. As far as sociopaths go, there’s none of the wit and black humour of A CLOCKWORK ORANGE’S Alex here. Instead there’s this disconnect; Simon is oddly aloof despite sharing intimate moments (bizarre tics, freaky grunting and jerking off to internet porn). However Mati Diop easily gains sympathy as prostitute Victoria, more so when Simon’s scam (blackmailing and fleecing her clients) backfires horrendously.
SIMON KILLER is an engrossing character study which plays with its audience. However it promises more than it ultimately delivers – Simon remains a detached enigma to us, and the end, when it comes, feels rushed. Dark, unsettling and nasty, SIMON KILLER will leave you feeling all grubby and in need of a good hot shower.
Extras: Film buffs will love the high quality extras, especially Campos’ short film THE LAST 15, while the glossy booklet is crammed full of illuminating material.
SIMON KILLER is released as part of Eureka Entertainment’s Masters of Cinema Series on Blu-ray and DVD 26 August
