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French college students, Marie and Alex, head to Alex's secluded farmhouse in hopes of studying for their exams without distractions. While settling in, a man breaks into the home and brutally murders Alex's family while Marie tries to hide herself from the killer. When the killer binds and kidnaps Alex, Marie follows him, attempting saving her friend and, along the way, running into some dangerous obstacles.
Alexia travels with her friend Marie to spend a couple of days with her family in their farm in the country. They arrive late and they are welcomed by Alexia's father. Late in the night, a sadistic and sick killer breaks into the farmhouse, slaughters Alexia's family–including their dog–and kidnaps Alexia. Marie hides from the criminal and tries to help the hysterical and frightened Alexia, chase the maniac, and disclose his identity in the end.
*********SPOILERS*********** This movie was confusing on so many levels (not Fight Club confusing, Donnie Darko confusing). There are too many plot holes to count and I know that many were discussed in previous threads. So I will mention the inconsistencies and confusing concepts this movie made.<br/><br/>To begin, this movie was well filmed (for a French flick). I felt that the style has been overdone before and the film reminded me a lot of previous horror flicks. I was also living up to the title of the movie. I actually felt High Tension while watching this (until the end of course). The constant tension was well filmed and productive.<br/><br/>My problem lies in the particular wacky plot that fails to capture after the built up twist at the end of the film. It reminded me of often so familiar previous attempts at twists that fail to capitalize on their achievement. Only are you left to dwell in the fact that this was 90 minutes of your life that you will never get back.<br/><br/>(As stated before, some of these were hit on in previous threads.) What was the point of the decapitated sex scene at the beginning of the film? I did not recognize the woman's head as Alex. Was it supposed to be her? Where did this rage from Marie come from? Her obsession with Alex? Has she in fact done this before to other women? At no time does the film talk about her history. I was waiting for this at the end but unfortunately your left saying, "huh?" If there are other victims, why here why now? Why did she stop. Why did she go back to release Alex from being bound.<br/><br/>Where did the truck that "the killer" use come from? Where there multiple vehicles in the film? This could have been better explained. Possibility A: Marie never leaves the back of the truck. (More believable than chasing herself in another car.) Possibility B: Anything other than what they used for the film.<br/><br/>What is the point of the Jimmy killing? For one, Jimmy would not act suspicious if there was not another person in the gas station with him. And two, why would Killer walk around asking himself "who were you looking at Jimmy" when there was only one person in the gas station. Another way of confusing the audience to no avail of tying in this to the ending. All we are shown with is surveillance video.<br/><br/>****American Psycho SPOILER ALERT***** Do not read if you've never seen.<br/><br/>Finally, it could have better explained why Marie was the way she was. A better twist, one I was expecting, was that Killer was Alex's real father or that none of this ever happened it was only in her mind (a sort of American Psycho ending). It did remind me of Donnie Darko twist although it left me less hanging than that film. In Donnie Darko you wait for the explanation and never get it, in High Tension your given a partial explanation and you have to dream up the rest. "Well maybe this happened because of this." The problem is this film has too many maybes and you have to try hard to fill in possibilities without a tie in from the director in any way. I didn't really like this film. I've seen far better thrillers with far less confusion and gore. Nice try.
I saw this when it was new and rewatching almost ten years down the road I could remember nearly everything shot for shot. This is a great success, especially when you're doing horror, where your first motive is to burn images into the mind. It's nerve-wracking tension until the last part, yes, the much-maligned finale, and it's tension that works the way it does because this guy has really studied the best of Carpenter and Argento. <br/><br/>So a pervading sense of place that speaks of doom, first and best, a stylish scheme of the ultraviolent, choreography is everything, between the camera and where the coveted killing is taking place. Accentuated sound.<br/><br/>And something else, that both these guys were masters of in their best day; sexual dynamics. Now violence is a sexual thing, and I don't mean this in the sense that anyone gets his jollies off by watching people get decapitated. I don't subscribe to a literal understanding of 'torture porn'. What I mean, is that film violence is governed by the same dynamics as sex. <br/><br/>Sex is normally about concentrated buildup and release, simple escalation. If concentrated enough, the energy can open chakras. But great sex is something else, it's layered art unto itself. Oh, you may have characters or a narrative running in the back, added danger coming from setting, as does any film, and those are fine, mental stimulants that abet investment in the situation. Above all though, is how you structure the situation.<br/><br/>So look again at the cottage house scene that takes up nearly a third of the film, which after all begins with a woman fantasizing sex; notice the tease and prolonging on top of physical exploration, up and down and up again, notice half-finished gestures that only serve to tingle passion, or how things are left aching long enough for us to yearn for the climax. It's damn good sex with a partner who knows.<br/><br/>The problem here as others have noted, is that the guy responsible for this is just a much better horror filmmaker than he's a cinematic thinker. <br/><br/>The twist is not bad by any means, if a little trite. The minute she puts her hand down her pants, headlights appear in the distance and we know violence is coming rolling down out of the darkness. But the nature of the thing is that we invest in real time, the present moment, absorbing a world as it happens, with no layering whatsoever and clear boundaries until miraculously reversed in the end, when it makes no sense for how we have experienced time.<br/><br/>For this kind of twist to work, we need a soft malleable reality with many possible points of entry and hazy mapping, the stuff that Lynch deals in. Lynch's twists, if they can be called that, are also trite in the light of day, why they work so well is that we try to do their mapping from inside the world being mapped; suddenly we're thrust in the middle of sex with a partner we only know as a character, so that the intimacy feels all wrong and dangerous.<br/><br/>This is harsh and cold for the most part, but in the end wants to be somehow dreamlike. It's not the partner we knew. Suddenly he's feigning an orgasm, or worse, laughing the whole thing off.
Serial killing and other insanity in the French countryside, with ineptly dubbed English dialogue.
"Sara 'Perche' Ti Amo" by Ricchi & Poveri. "Runaway Girl" by U. Roy. "New Born" by Muse. "Superstar" by Sonic Youth, which is a cover of "Superstar" by The Carpenters. You can view the film in three ways:<br/><br/>(1) U.S. English Language Dubbed Version - everything is dubbed in English.<br/><br/>(2) U.S. Unrated Version - half of the film is subtitled, and half of the film is dubbed (which is how it was released in theaters). <br/><br/>(3) Original French Language Director's Cut Version - everything is in French.<br/><br/>The film itself is the same no matter which version you choose. The only problem with choosing the Original French Language Director's Cut Version is that the subtitles are not entirely accurate. There were lines added in the U.S. English Dubbed Version, so if you choose to view the film in French, the English subtitles will sometimes display lines that are not being said by anyone. For the US theatrical release, the film was rated R by the MPAA. To achieve this, the film had to be cut heavily. More than one minute of violence is missing in different scenes.<br/><br/>The Korean DVD is censored as well. Nearly 1 minute is missing in this version. Yes–it's loosely based on the novel Intensity by Dean Koontz. A soundtrack album featuring François-Eudes Chanfrault's electronic score was supposed to be released by Thrive Records in the United States, but it was ultimately canceled. On the composer's official Web site (
) a link is available to stream "Faustina Mauricio Mercedes Part IV." If you dig deeply enough through the coding, however, about 30 minutes of audio from the score can be downloaded. The 2005 US DVD of High Tension had to be retouched before its release. However, the content that had to be removed from the movie was not of a violent nature, as one might suspect. Instead, the Jack Daniel's logo was removed every time it could be seen. Unfortunately, we do not know why this happened and whether it was someone from Lionsgate or someone from Jack Daniel's who stepped in.
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