A common misconception about Pigeon Shrine FrightFest is that the festival only plays gory slashers or freakish ghost stories. The reality however, is that sustaining a five day long annual festival with just films that fit into those two categories would be both impossible and super repetitive. Instead, FrightFest seeks to celebrate films that embrace the dark heart of cinema. This opens up the selection process and enables the team to uncover some wicked gems that may otherwise be overlooked, such Aurélia Mengin’s Scarlet Blue.
To fully try to articulate the plot of Scarlet Blue is not an easy task as Mengin’s film does not conform to traditional narrative rules. Scarlet Blue is more experimental in its formation as it tells of Alter (Amélie Daure and Anne-Sophie Charron) as she tries to fix her depression by unlocking the secrets of her past. At the same time as working with a healer who utilises mystical hypnosis, Alter meets and begins a passionate affair with Chris (played by Mengin herself). As her head and heart compete for supremacy, Alter finds herself trapped in the rabbit hole of her own psyche.
Although the narrative framework for Scarlet Blue is intentionally loose, every other aspect is meticulously orchestrated. The production, costume and make-up design, are exceptional, and in a just world would stand a real chance of accolades come award season. Mengin comes from an artistic background and this talent shines through in the dressing of locations and characters. Each frame looks like a piece of modern art. One standout is how Mengin chooses to light her scenes, with lots of vibrant red, blue, and ultraviolet colours. This combination gives the movie a heavy haze of neon dream, best captured within a gorgeously shot car. Another highlight to call attention to is the use of make-up. Skin has rarely looked more beautiful than it does in Scarlet Blue, a sequence involving gold paint looks straight out of an exquisite painting. Even if the viewer can’t follow the plot, they can most definitely enjoy the view.
In terms of content, Scarlet Blue is a very sexual film. These scenes are not provided for titillation, but rather communicate Alter’s journey of self discovery. Whilst little is explicitly explained about Alter’s circumstances, it becomes clear that she is a character trapped in life. The life in which she finds herself bound is not the one she wanted, and through her carnal encounters the audience is presented with a glimpse of the woman that she wants to be. As with every other aspect of Scarlet Blue, these scenes are utterly bewitching. Mengin taps into the world of fine art to create stunning images that are worthy of being hung in a museum.
Given Scarlet Blue’s heavy arthouse and experimental leanings, this will not be a film for the masses. It will instead be a film for those unafraid to dig beneath the surface of the media that they are consuming. Scarlet Blue might not spell out everything to the audience, but those willing to participate will find plenty of depth to analyse. Much like visual art, Scarlet Blue is a film that will impact each beholder differently, encouraging discussion and debate. Arthouse, experimental, and above all, primal, in Scarlet Blue Aurélia Mengin has crafted a visual masterstroke.
Scarlet Blue
Summary
A strange and perplexing cacophony of imagery of a mind trying to unpick itself, Scarlet Blue is an arresting and thought provoking work of beauty.
Scarlet Blue was reviewed at Pigeon Shrine FrightFest 2024.
