Having made Israel’s first-ever horror film in the form of the hugely entertaining Rabies, filmmaking duo Aharon Keshales and Navot Papushado are at it again with the stunning Big Bad
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by the duo as “Dirty Harry meets a Korean revenge thriller written by the Brothers Grimm”, Big Bad Wolves confirms the pair as two of the most exciting genre filmmakers around. Effectively a three-hander for a large chunk of its running time, the film sees a trio of men (a vigilante cop, a father and a suspected paedophile) drawn together
by a series of brutal child murders, building to a devastating climax that’s likely to leave you stunned.
Technically, Big Bad Wolves is superior to Rabies
in almost every aspect. Where Rabies was frantic, all handheld cameras and chase scenes, Big Bad Wolves is far more cinematic, unafraid of long, static takes and relying on the pin-sharp dialogue to captivate. Partly this is down to the excellent performances of the leading trio (Lior Ashkenazi, Rotem Keinan and Tzahi Grad), but Keshales & Papushado’s ability to stride the fine line between light and dark cannot be overstated. Case in point, one scene sees Gidi (the father) reel off the increasingly horrific acts Dror (the suspected paedophile) is accused of doing to young girls, before Gidi is interrupted by his mother on the phone. In lesser hands, the scene would be little more than slapstick, but here it only emphasises the horror by grounding it in the mundane.
It’s a line the film successfully treads throughout, especially crucial when it comes to the more graphic side of its personality. The camera certainly doesn’t shy away from the torture scenes and while it’s not all-out gore, it’s more affecting than the torture is
low-key: among others, toenails are ripped off and there’s a close encounter with a blowtorch, all of which could add up to a difficult watch for the more squeamish out there. The moments of levity are what keeps Big Bad Wolves from Saw-esque gornography, with no moment of violence simply thrown in as an audience distraction. It also helps that the entire film looks beautiful thanks to cinematographer Giora Bejach; a sumptuous slow-motion opening sequence setting a high standard that the rest of the film more than matches.
Put simply, Big
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Bad Wolves is flawlessly crafted from whatever aspect you choose to investigate. Keshales & Papushado’s choices throughout are exemplary, especially so when it comes to the film’s climax where a choice
line of dialogue is all they give the audience to fit the pieces together. By not spelling it out, it serves to make the gradual realisation all the more potent and could well ensure that its European premiere at FrightFest ends in audience silence, before rapturous applause. No doubt that’s precisely what the duo were after, and it’s also the reason Big Bad Wolves lingers long in the memory.
Big Bad Wolves will be shown at Film4 Frightfest on August 26. For more information and tickets go to www.frightfest.co.uk
Watch the trailer
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