The Horror Digest: High Tension: I'm Fairly Certain the Killer was Quint
Pictures and informations about the horror movie High tension. The two later began a relationship, after which Maïwenn, having lost her motivation as an actress, interrupted her career for several How does the movie High Tension end?. High Tension is a French horror film directed by Alexandre Aja, stars Cécile de France, . the consensus stating: "There is indeed a good amount of tension in this French slasher, but the dubbing is bad and the end twist unbelievable. and misunderstandings among critics as it is the case with High Tension. Divided reactions . It seemed to tell one kind of story, but in the end revealed to have . I think it's more about love, it's about relationship between two persons. We can.
Roy - " A toutes les filles " Lyrics: How does the movie High Tension end? The killer isn't real. He exists only in the mind of Marie. The "killer" is nothing more but a character apart of Marie's Dissociative Identity Disorder a.
Multiple Personalitywhich was formed from Marie's secret and violent obsession and affection for Alex. This secret crush for Alex gave Marie a violent side, making herself proclaim that she won't let anyone come between them, not even her family. So that's why Marie, the killer, slaughtered Alex's family, only putting an image in her mind that it was someone else who did it. In the last scene, we come to the image of Marie in the hospital room from the beginning, only for us to realize that it's really a mental institution.
It then becomes aware that the entire movie was being told from Marie's point of view on how she saw everything, but she's totally unaware that she was the real killer all along due to how psychotic she is. Alex is shown standing outside the room looking at Marie through a two-way mirror. Even though Marie can't see Alex, she knows she's there, as she opens up her arms in a loving gesture.
Alex's father is graphically decapitated with a bookcase, his headless neck spraying blood. In the R-rated version, the initial killing is implicit rather than explicit, and later, during a flashback, his killing is gone. The scene of the killer applying a concrete saw to the stomach of the man driving the car was edited shorter When Alex's mother has her throat slashed, the scene is edited short; most of the arterial spurting, as the killer pulls back her head, is gone.
The shot of her severed hand also is removed, leaving no indication of what exactly happened to her.
CULT MOVIE REVIEW: High Tension ()
The scene where Marie strikes the killer's face in with the barbed wire post is shortened and less explicit; Marie hits the killer fewer times, and there are fewer details of the killer's wounds shown.
The South Korean theatrical re-release and DVD release has cuts totaling under a minute to all the murders. Also a brief shot of a severed hand next to a phone is missing.
These cuts were finally restored for the special edition DVD in Retail version was cut even more ca. Both the killer and Marie get a turn with a circular saw. A Date with Rosie Palms: Marie, after seeing Alex showering through the bathroom window earlier that night. Since she's listening to her walk-man during the act, this prevents her from hearing the killer get into the house until the murders are well under way.
Subverted, in that the protagonist is also the killer, leaving both Alex and the killer alive in the end. There is a lot of this, thought most is nigh impossible to register without knowing the Plot Twist Girl with Psycho Weapon: During the film Marie is depicted weilding both a wooden club wrapped in barbed wire as shown above and a circular saw.
Gorn Gory Discretion Shot: A beacon of danger to come. Very quickly, the man gains entrance to the house and violently murders Alex's family members.
He decapitates Alex's dad, slits the mom's throat, and shoots the little brother in the back. Then the male killer abducts Alex herself. Marie has managed to stay hidden throughout the terrifying massacre, and steals away into the back of the truck, where she attempts to comfort Alex.
The killer is driving Alex somewhere to kill her, and Marie hopes to save her A night of deep terror ensues, as Marie battles the stranger near a greenhouse. Late in the game, however, Marie comes to realizes something shocking. She realizes that she is -- in fact -- the murderer herself! The "man" is an alter-ego of sorts -- not real -- and she is clearly stark raving insane.
The film then reveals flashbacks of the farmhouse massacre and instead of seeing the madman commit the crimes this time, we now see it was Marie all along. High Tension is a brutal, pacey and effectively-directed horror movie. It looks terrific, it involves you in the protagonist's plight, and it makes you feel entirely uneasy throughout the first hour or about 68 minutes.
However, my concern with High Tension remains the fact that the brazen twist, the act here that shatters movie decorum -- that Marie is actually the mad killer -- is not, in my opinion, either a. Before I go into the reasons why I think the final act of the film does not play fair with the audience, allow me to explain the reasons I do admire aspects of the film a great deal.
First and foremost, I can detect what the clever filmmakers are doing with High Tension, and I commend them for attempting to make the next great transgressive horror film.
The film they sought to make, I believe, is one in which we witness the ultimate evolution or perhaps punctuation of the popular s slasher paradigm. After all, this is the film that firmly places the Final Girl and the Mad Killer - formerly dedicated opponents, always at odds -- in the same physical body.
This development has been a long time coming in the genre: With no more "outer" worlds to conquer, the Final Girl turns inward in High Tension, confronting a roiling, resentful, splintered psychology. The monster is no longer an "outside" force but rather one determinedly located inside. In High Tension, we are clearly meant to understand that Marie's sexual desire for Alex is the root cause of her murderous other-persona.
Again, this aspect of the film is very true to horror movie lineage: Here, Marie's repression has created a rampaging monster.
One who is, rather significantly, a physically-ugly male. If the Final Girl has often represented virginity and virtue in the horror genre; the killer has many times represented, the opposite. And he is usually depicted "penetrating" something The male killer is thus the catalyst that activates the Final Girl. Whether with a drill, a machete or a chain saw, it is the killer who instigates.
When Marie is driven to murderous rage in High Tension, her insanity configures itself as an ugly man to commit the untoward deeds The Final Girl is left merely as a witness, a bystander, as part of her exorcises this boogeyman-side. Frankly, this is a terrific and thoughtful conceit, and I respect and admire High Tension for executing so inventive a notion: Where I fault High Tension, however, is in cheating the specifics of this "twist" this movie-decorum shattering situation.
The form of the twist doesn't ring true. It doesn't smell right; even if thematically we can see the validity of it.
Again, I must be clear: High Tension builds a strong thematic case for the splintering of Marie's psyche, first by the opening dream about her "running" from herself; and secondly by linking the arrival of the killer with Marie's unfulfilled sexual desire, specifically the masturbation sequence.
Gut wise, we can believe this. The character motive seems right, or at least believable. In terms of film grammar? I submit that High Tension fails the smell test rather egregiously on this front.
Film is primarily a visual art term, and we watch in High Tension, as Marie witnesses the brutal massacre of Alex's family. At one point, we even adopt Marie's point of view film grammar lingo for her perspective: So if the High Tension twist is to be believed We were not seeing through Marie's eyes at all.
She was never even in the closet. She was outside the closet, doing the killing. I might be willing to accept this depending on whether I've been drinking We see Alex and Marie arrive at the house in a car.
We see the killer arrive separately in a truck and his headlights cast blue illumination on the family pets [a dog and a parrot]. Now, realistically, only one of these realities can be true.
If Marie is actually the only visitor to the farm the murderer being a figment of her sexual jealousy and rage then there can only be either a car or a truck, but not both. If the truck, like the male killer, is only a figment of Marie's psyche -- her murderous imagination -- then how come the light reflects on the animals?
Non-existent head-lights don't cast light on real life objects, do they? But the incongruity goes further. The killer the male throws Alex into the truck and drives away. If there is no truck in reality, then where is Alex Regardless of whom is actually chasing her, a male killer or Marie acting as the male killer, Alex has to physically be somewhere at all times. If the truck doesn't exist, then where is Alex while Marie confronts the male killer?
The film's final chase finds Marie grabbing a circular saw device from the truck and chasing down Alex with it. The saw came from inside the truck. But there is no truck, right?
It's all in Marie's mind. So what is Marie really chasing Alex with, and where did she get it? The saw may be family, but it can't come out of nowhere. See my problem here? Again and again, High Tension confronts the audience with events that represent physical impossibilities. Marie can't have arrived in the farmhouse in both a car with Alex driving and in a truck. If she didn't come in the truck just the carthen how does she take a saw out of the truck that was never there? If she followed Alex later, in the truck not in the carthen her dream about chasing herself didn't happen; and she never actually even met Alex's family.
She never saw Alex showering then, either, and thus her anger was never stoked hence activating her alter ego. Even the details of the family massacre don't stand up to scrutiny. The Dad hears the doorbell ring and walks down the stairs to the front door.
He lets the male killer in. At this point, Marie is upstairs. If Marie actually did the killing as the explanatory flashback at the denouement revealsshe wouldn't have had to come from the outside of the house at all And if she didn't come from outside, the father wouldn't have walked down the stairs in response to the sound of the doorbell which, as audience members, we hear.
So who rang the doorbell? Doorbells don't ring themselves, and neither do angry psyches. The two realities that are depicted visually for us in High Tension do not fit together -- they are not internally consistent with one another.
More to the point, they actually contradict each other. For the film to work, we would have to believe that objects like the circular saw, or the truck appear out of nowhere The only answer that allows for the possibility of both versions of reality is that the entire film consists of a fever dream; a fantasy. Marie's early nightmare and awakening might be a reason for favoring this dream interpretation. Also, if I'm not mistaken, in the killer's first scene, the severed head he tosses on the ground from his truck belongs to Alex a character not as yet dead in the film, in either version of reality.
So perhaps everything in High Tension is a fantasy, the lunatic thoughts of a mad, jealous woman. Perhaps we are seeing the whole film from inside Marie's mind. I guess would buy that for a dollar! If everything that we see -- or that seems -- is but a dream within a dream, then nothing in High Tension matters.High Tension: First Death Scene
It might as well be set on Mars, because there really are no rules. Pigs could fly out of Marie's butt in one scene, for instance, and that too would fit "the dream. Because for a scary movie to succeed in scaring us We must identify with the characters. We must believe the characters are in danger.
We must believe that the threat of the killer is real, even if the identity of the killer is a secret or a surprise.