THE BEAST/ LA BETE

France, 2023, 146 minutes, Colour.

Lea Seydoux, George Mackay.

Directed by Bertrand Bonillo.

Quite a number of reviewers and bloggers who admire this strange and unusual film state that it is “not for everyone”. And, as this reviewer watched the film, a greater realisation that this time he was part of “everyone”.

On the one hand, writer-director, Bertrand Bonillo, has been very ambitious in the his intended themes as well as in their execution. And, while so many have been intrigued, this reviewer felt rather detached while watching, not drawn into the themes, interesting as they are, and not attracted by the characters and the situations in which they find themselves.

The film opens, in fact, quite arrestingly, the central actress, Lea Syedoux, standing on a plain film set, table with a knife, and the voice-over of the director coaching her for her performance. Then, we are in 1910, an evening in a French salon-gallery, echoes of the Gilded Age, elegant costumes and decor, behaviour, some bizarre male paintings, conversation, and introduction to the musician, Gabrielle (lea Syedoux), happily married, but being shadowed throughout the evening by Louis (in a role originally for French actor Gaspard Ulliel, killed in an accident but now taken by British actor George Mackay, speaking in both French and English).

And then we are in 2044, memories of a disaster in 2025, now a world of AI, taking over the workplace, and a taken-for-granted program whereby humans submit themselves to a process, even just the shutting of an eye, quietly eliminating anything passionate in their nature and they will become calmly and contentedly subservient. Louis is there for an interview. Gabrielle is a strong personality, reluctant to let go any passion.

There is talk of previous lives, their influence, then needing to be remembered, examined, purged. Which means that the other time era in The Beast is 2014, in the US, Gabrielle intending to succeed in a modelling career, house sitting at the time of an earthquake. But the focus now is on Louis, obsessed, photographing himself, an egocentric voice-over, lamenting his inability to relate to women, Savage repercussions on his psyche, an encounter with Gabrielle, a kind of surrender and shocking consequences.

So, another exploration of the consequences of AI and its power for dehumanising. The 2044 era highlights this futuristic science fiction. The 2014 episode is jolting. The 1910 era, which does constitute a major part of the film we have seen many times before.

1. The title, the unseen beast, the beast within? AI and its beastly qualities?
2. Blend of drama, historical drama, contemporary drama, futuristic scenarios, the rule of AI, control of human life?
3. The intentions of the writer-director, the future and AI, the present, the influences on past, previous lives, the influence of the past and the present? Continuity? Differences? The future situation, AI in control, doing the work, the unemployed, the effect of brainwashing, purging the memories, purging emotionality, human behaviour but robotic?
4. The time eras, the opening with the actress being directed, playing, the green screen background, the table with the knife, the voice of the director, the response of the actress, her performance, dramatising, the beast, the knife? The later reference repetition of this scene?
5. The 1910 sequences, elegant society, socials, costumes and decor, formalities, the gathering, the conversation, the art exhibition of the artist, the naked man, the comments? The repetition of these sequences throughout the film?
6. The introduction to Gabrielle, musician, her husband, the relationship, devotion? The encounter with Louis, his age, in comparison with Gabrielle, his following her, the conversations, memories of Rome and Madame Butterfly, or Naples, or their never having met? The range of the conversation, the attraction? The development of the relationship in later sequences, going to Madame Butterfly, leaving early, the discussion about the dolls, Gabrielle’s impassive face as the model for the dolls, the symbolic dolls and human creation? The factory, the floating, the images of Paris being flooded, Gabrielle and Louis together, her husband and his business, the spark, the fire, the attempts to escape, the locked exits, the couple drowning?
7. The 2014 sequences, Gabrielle in the US, modelling and sessions, her minding the house?
8. Louis, more prominent in this sequence, his image of himself, photographing himself, his explanations of himself, self-importance, relationship with others, his lack of relationships with girls, a virgin, upset? The earthquake and the consequences for Gabrielle, the owner phoning and broken vases? Her going into the street, wanting companionship, talking with Louis, his resistance, the man in the street, the sexual encounter, her imagining Louis, ousting the other man? The buildup of the relationship? The pool, Louis talking Gabrielle, the shooting?
9. 2044, the modern mansion, the pool? Gabrielle and her work, touching the monoliths for temperature? Her interview, wanting something more? The situation, AI and control, the anonymous voice and interview, the process of eliminating the memories and their influence? The passion? The interview sequences, Gabrielle and going to America, the Civil War, 1910, 2014? The process of elimination not working? Her strong feelings? The encounter with Louis, ordinary, going to the interview, the later meeting, in love, passion, the possibilities, Louis manifesting that he had gone through the process, working for the State, loss of passion? Gabrielle in collapse and usually distress, her being the exception, the prospect of her future?