The New French Extremity movement created some incredible and daring films in the early 2000s, one of the most notable being Inside. This film along with Irreversible, Martyrs, Frontier(s) and many others defined the film movement that would give us some of the most extreme, taboo shattering films ever made. Much like The Human Centipede, Inside is a film in which the very concept is enough to make most people’s skin crawl. That alone makes it a must see for Extreme Cinema fans but the most important question is still “is there substance beneath the surface”?
The film starts with pregnant Sarah (Alysson Paradis) getting into a horrific car accident that takes her husband’s life, and things only get worse for her from there. Four months later, the night before she is to be induced, a mysterious woman (Béatrice Dalle) comes to her house with a single-minded purpose……to cut Sarah open and steal her baby.
The two keys things that all of the notable films of the New French Extremity have in common is that they feature gruesome brutality and are very well made. That’s an important distinction to make because if they were a collection of poorly-acted films with laughable special effects then they wouldn’t have been noteworthy in the first place. The fact that these films are so well executed, not only makes them far more enjoyable, but also makes the extreme violence something that is genuinely disturbing rather than laughable.
Inside definitely holds up on that front, with gorgeous shots, brilliant lighting design, and realistic, visceral gore. All of the actors involved do a great job, but Paradis and Dalle are exceptional and both deliver harrowing performances that take the film to the next level. I also enjoyed the simple yet innovative concept that manages to keep the tension high even with a small cast and one central location. It all culminates in an ending that is an absolutely perfect way to cap off this film.
Now, this film does have a great, tightly paced script that is very well written overall. However, there were still a few illogical moments that should have been tightened up before shooting. For instance, it seems very unlikely that a cop would bring a random perp he arrested with him into a house, where a potentially dangerous suspect was lurking, and give him a gun. This doesn’t make any sense, considering the fact that he could have easily just left him in the car. But it makes even less sense to tell the victim to wait alone in her bedroom while he turns the power back on, instead of just bringing her the fuck out of the house! In both cases these are oversights that could have been easily remedied with some logical justification that could have still achieved the same end result.
Regardless, the couple of minor script issues can be forgiven in an overall incredible film, and the fact that the film is so good in general, is actually what makes them stand out. If you are a fan of extreme cinema and you somehow haven’t seen this film yet, drop what you’re doing and fucking see it because this is daring, uncompromising cinema that must be seen to be believed.