Revenge (2017) Film Review: Ferocious feature debut features prolific body horror and profound female empowerment

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When three middle-aged, wealthy men get together for their annual hunting game in a desert canyon, one married CEO brings along his young mistress, who quickly arouses the interest of his friends.

Before long, Jen (Matilda Lutz) is taken advantage of and left for dead in the desert, where she eventually recovers and seeks vengeance on all three men who did this to her.

From the director behind 2024's critically acclaimed body horror sensation The Substance, Revenge (2017) marks Coralie Fargeat's feature French/English language debut, an action/thriller oozing with confidence and a unique stylistic voice.

This relentless take on the rape/revenge genre showcases Fargeat's immense passion for the craft of filmmaking and also demonstrates her intriguing fascination with the art of body horror, laying the seeds for what would become her signature style later down the line.

Coralie Fargeat's impressive visual/audio style is instantly plastered all over the film from the very start

What is immediately captivating about the movie is its riveting sound design and striking, memorable imagery and visual symbolism. We are introduced to the vast, empty landscape of the desert with a helicopter streaking across the camera overhead, with an extreme close-up of a man's fashionable sunglasses slowly zooming out, highlighting his wealth and power.

The concept of the male gaze becomes a significant aspect of the film's direction, as Jen is quickly established as an object of sexual desire for the trio, with focus given to her attractive red bikini outfit and one of the men uncomfortably staring at her through the glass windows of the modern getaway house. The movie is certainly an incredible sensory experience, accompanied by a heavy, foreboding techno/synth style score which enhances the dark, oppressive subject matter to great effect.

The pivotal rape scene itself is handled exceptionally well, without showing anything too graphic or needlessly over the top, and cutting the musical soundtrack entirely to allow the actors the space to perform, with Vincent Colombe as Stan embodying a sinister sense of threat as he jarringly switches from smiling and joking to something much more disturbing. The clever symbolism of an apple beginning to rot over time makes for a solid visual metaphor for the brutal events that are to transpire following this grotesque act of primal desire.

This one sickening moment begins a turbulence of explicit, bloody violence and revenge as Jen quite literally rises from the ashes like a phoenix (if you have seen the film, you will know what this is referring to!) to bring her tormentors to justice in the most raw, savage way. Fargeat's bold style is unflinchingly visceral in its execution, with some truly nauseating sequences of gore and body horror which will definitely not be for the faint of heart. Even those with a strong stomach will likely be affected here.

Three wealthy hunting enthusiasts greatly underestimate the capabilities of their female accomplice

The sound of blood dripping onto a fire ant is akin to the brash sounds of gunshots; an unhinged trippy sequence of Jen tending to her injuries involves the sickening sounds of flesh being torn and blood seeping out of wounds; a man chewing on a snack is captured in excruciating extreme close ups and a drawn out sequence involving a foot and a shard of glass is enough to make anybody squint in disgust.

Matilda Lutz's remarkable physical transformation is shocking, beginning the film with the stereotypical 'Barbie Girl' get-up, complete with beautiful blonde hair, pink attire, and sucking on a lollipop without a care in the world, to a grimy, blood-soaked survivor stripped of everything and forced to traverse a harsh environment. Her ascension to a ferocious warrior of sorts is a truly inspirational journey to follow, with Lutz demonstrating great resilience and strength as her character is quite literally put through the wringer.

Many thrill seekers and gore fans will find plenty of satisfaction here, as the movie deliberately crafts a slow-paced quest for revenge, with well-executed sequences of suspense foreshadowing the eventual justice that will be served to the three men. The film is arguably a tad too indulgent, depending on one's subjective taste and preferences for this type of narrative, with a particularly long and drawn-out climax involving Jen's pursuit of her ex-lover, Richard.

Jen (Matilda Lutz) embarks on a violent quest for vengeance and justice when she is forced to survive in an unforgiving desert landscape alone

Although the filmmaking is admirable in all aspects, the movie could have easily been trimmed down to an hour and a half for a tighter, more effective screenplay. One must also expect to suspend their disbelief in regards to some creative decisions involving Jen's remarkable ability to recover so well from her grievous wounds, and not take the film too seriously due to its heightened, exaggerated style.

However, despite an overindulgence in screen time and potentially divisive stretches of the imagination, Revenge stands as an exceptional debut from a visionary film director. Coralie Fargeat pulls no punches and firmly establishes her original cinematic voice with a bold, brutal tale of good old-fashioned revenge and female empowerment.

The movie is impeccably made, with a strong sense of body horror, effectively crafted sequences of naturally conceived dread and tension, and a powerful performance from its lead. Although there are some pacing issues that may test the viewer's patience, it is difficult to deny the clear passion and talent behind and in front of the camera here. Fans of The Substance should find much to get their teeth stuck into with this one!

Check out the trailer for Revenge (2017) below, and please let me know your thoughts in the comments!