Meditative drifter David Dewaele (a Dumont regular who died in 2013) and sad teenager with family problems (Alexandra Lemâtre of no other films) are apparently friends (I can’t shake K. Uhlich calling them “Hipster Jesus and Anime Goth Girl”), and in the opening minutes he murders her stepdad for her.
Rest of the film is less story-driven and more mystical than we’d expect from that opening. David is some kind of a healer. Alexandra is pursued by an amorous guard, but she likes the emotionally unavailable David instead. There’s a forest-fire / walk-on-water scene that brings to mind Nostalghia, a disturbing rabies-sex scene, the unexpected rape/murder of Alexandra and her much-more-expected resurrection. What does this mean for the case against her murderer, who gets caught in the previous scene?
Strange sound design – during long shots we hear someone (the cameraman?) breathing loudly. I rather liked this movie, but my critics who’d seen his earlier work did not. S. Tobias: “Another tedious variation on themes that would seem too specific to repeat … His impeccable style has never been in question; it’s his purpose that seems in doubt.” I’m also not sure what it adds up to, but it’s mysterious and pretty enough (Cinematographer Yves Cape also worked on Holy Motors) to keep me happy for a couple hours.
Mom, on encountering her resurrected daughter:
Andréa Picard defends the film in Cinema Scope:
Hors Satan’s elliptical nature and multiple readings are firmly beholden to the film’s form; Dumont has referred to his emphasis on “sensations” and the retrospective (instead of fleeting) meaning of images attained through careful composition and construction. With a striking refinement and reduction of his palette, and a sly sense of humour, Dumont has reached a new level in his filmmaking.
Played in some sub-category of Cannes with Elena, The Day He Arrives and Martha Marcy May Marlene.