1 00:00:00,520 --> 00:00:04,120 Speaker 1: Great to flick with Ben o'she Ben, how are you mate? Yeah? 2 00:00:04,120 --> 00:00:08,800 Speaker 2: Good? No one does drama quite like the French, do they? 3 00:00:09,440 --> 00:00:12,840 Speaker 2: And so this film coming out starring Leah Saido, the 4 00:00:12,880 --> 00:00:16,760 Speaker 2: great French actress who she's obviously been in many, many, 5 00:00:16,760 --> 00:00:19,360 Speaker 2: many French films. We've also seen her in Tarantinos, in 6 00:00:19,400 --> 00:00:22,520 Speaker 2: Glorious Bastards. She's been in nearly every Wes Anderson movie 7 00:00:22,560 --> 00:00:25,520 Speaker 2: in the last sort of five or ten years. She's 8 00:00:25,800 --> 00:00:29,240 Speaker 2: a wonderful actress and she gives the performance of her 9 00:00:29,360 --> 00:00:34,680 Speaker 2: career in this film called The Beast or in French lebette. Okay, 10 00:00:35,080 --> 00:00:36,000 Speaker 2: I think I'm not? 11 00:00:36,920 --> 00:00:37,800 Speaker 1: Yeah? Is that right? 12 00:00:38,520 --> 00:00:42,280 Speaker 2: And this film it also stars George McKay who is 13 00:00:42,640 --> 00:00:47,000 Speaker 2: the lead actor in Sam Mendez's excellent World War One 14 00:00:47,040 --> 00:00:50,760 Speaker 2: film nineteen seventeen. He was the main guy in that wonderful, 15 00:00:50,760 --> 00:00:53,840 Speaker 2: wonderful British editor who's pretty handy with a French accent 16 00:00:53,920 --> 00:00:56,960 Speaker 2: as well, might I just say? And so this film 17 00:00:57,120 --> 00:01:00,760 Speaker 2: is based on a nineteen oh three novel ella by 18 00:01:00,760 --> 00:01:04,080 Speaker 2: an author named Henry James, that was called The Beast 19 00:01:04,080 --> 00:01:06,639 Speaker 2: in the Jungle, and it was kind of the story 20 00:01:06,680 --> 00:01:11,240 Speaker 2: was a metaphor is about this guy who was paranoid 21 00:01:11,319 --> 00:01:14,880 Speaker 2: by this fear, this impression that he had that some 22 00:01:15,400 --> 00:01:18,360 Speaker 2: great evil fate was going to befall him at some 23 00:01:18,520 --> 00:01:21,240 Speaker 2: time in his life. He didn't know what it was exactly, 24 00:01:21,280 --> 00:01:23,080 Speaker 2: but he just had this vibe something bad was going 25 00:01:23,120 --> 00:01:26,040 Speaker 2: to happen to him. So because of that, he'd met 26 00:01:26,040 --> 00:01:27,920 Speaker 2: this love of his life, but he never married her. 27 00:01:28,040 --> 00:01:30,240 Speaker 2: They never got together because he didn't want to subject 28 00:01:30,240 --> 00:01:32,839 Speaker 2: her to this terrible thing that was going to happen. 29 00:01:33,160 --> 00:01:35,640 Speaker 2: And then just on his deathbed, he realized that the 30 00:01:35,720 --> 00:01:38,000 Speaker 2: terrible thing was that he didn't live his life, that 31 00:01:38,080 --> 00:01:41,479 Speaker 2: he didn't follow love because of his fears. So it's, 32 00:01:41,560 --> 00:01:44,360 Speaker 2: you know, one of those metaphors for like not living 33 00:01:44,360 --> 00:01:47,440 Speaker 2: your life because of fear of thinking about anyway. So 34 00:01:47,760 --> 00:01:50,600 Speaker 2: this film is a very very loose adaptation of that, 35 00:01:50,680 --> 00:01:52,680 Speaker 2: and I say loose, it couldn't really get much looser 36 00:01:53,360 --> 00:01:56,920 Speaker 2: because firstly, it switches the bloke for a woman, and 37 00:01:56,960 --> 00:02:00,280 Speaker 2: the Leah Saido's character Gabrielle, she's the one who leaves 38 00:02:00,320 --> 00:02:02,280 Speaker 2: if this terrible thing is going to happen to her. 39 00:02:02,520 --> 00:02:04,880 Speaker 2: But it's also set in the year twenty forty four, 40 00:02:05,480 --> 00:02:10,440 Speaker 2: when Ai is in charge of everything and so AI 41 00:02:10,600 --> 00:02:14,079 Speaker 2: basically has taken all the jobs and all that's left 42 00:02:14,080 --> 00:02:16,880 Speaker 2: for humans to do is the real basic menial stuff, 43 00:02:17,000 --> 00:02:20,080 Speaker 2: and she is not happy with that. She believes that 44 00:02:20,120 --> 00:02:25,079 Speaker 2: she's destined for more. And when people have that belief, 45 00:02:25,440 --> 00:02:27,799 Speaker 2: the AI kind of reprograss them give them. It gives 46 00:02:27,800 --> 00:02:31,919 Speaker 2: them the opportunity to go and purify their DNA, and 47 00:02:32,000 --> 00:02:34,880 Speaker 2: they do that by undergoing this sort of medical process 48 00:02:34,919 --> 00:02:39,160 Speaker 2: that allows them to revisit past lives and basically erase, 49 00:02:39,400 --> 00:02:43,760 Speaker 2: erase these kind of lingering echoes from past lives and 50 00:02:43,800 --> 00:02:46,120 Speaker 2: purify their DNA and then they're happy to just be, 51 00:02:46,360 --> 00:02:50,720 Speaker 2: you know, like emotionless, emotionless human robots. 52 00:02:50,760 --> 00:02:56,399 Speaker 1: Basically quite a lot of facts, yes one. 53 00:02:56,560 --> 00:02:59,200 Speaker 2: And as she goes back through her past life, she 54 00:02:59,240 --> 00:03:01,840 Speaker 2: goes back to I think nineteen ten in Paris the 55 00:03:01,840 --> 00:03:07,040 Speaker 2: Bella Poc and then also twenty fourteen in Los Angeles, 56 00:03:07,120 --> 00:03:09,560 Speaker 2: and in both of these past lives she runs into 57 00:03:09,680 --> 00:03:12,960 Speaker 2: George McKay's character Louis, and they have this kind of 58 00:03:13,240 --> 00:03:16,240 Speaker 2: in spark, they have this kind of connection, but she 59 00:03:16,400 --> 00:03:18,600 Speaker 2: has this fear that something terrible is going to happen, 60 00:03:18,639 --> 00:03:21,160 Speaker 2: which is this thing in the future, and so you know, 61 00:03:21,240 --> 00:03:23,320 Speaker 2: she's reluctant to kind of get involved with him. So 62 00:03:23,400 --> 00:03:25,680 Speaker 2: you can see the links to the original story, although 63 00:03:25,680 --> 00:03:29,359 Speaker 2: it's very very different in the way it unfolds. This 64 00:03:29,400 --> 00:03:33,880 Speaker 2: film has so many ideas and is so French. It's 65 00:03:34,000 --> 00:03:37,320 Speaker 2: like it's the equivalent of going into a really fancy 66 00:03:37,360 --> 00:03:40,440 Speaker 2: restaurant in Paris and the menu is not in English. 67 00:03:40,680 --> 00:03:43,040 Speaker 2: The white staff refused to talk to you in English, 68 00:03:43,240 --> 00:03:45,840 Speaker 2: and so you have no idea what's really going on. 69 00:03:46,640 --> 00:03:49,240 Speaker 2: It's good, you assume it's good, but the only word 70 00:03:49,240 --> 00:03:51,360 Speaker 2: you can understand on the menu is Scarco, and you're like, 71 00:03:51,720 --> 00:03:52,800 Speaker 2: I don't know, I don't know if I'm going to 72 00:03:52,920 --> 00:03:55,800 Speaker 2: like it, but you've got to stick with it. It's 73 00:03:55,800 --> 00:03:58,480 Speaker 2: also extremely long, two and a half hours, and it's 74 00:03:58,720 --> 00:04:01,880 Speaker 2: extremely slow move So this will be the sort of 75 00:04:01,920 --> 00:04:05,880 Speaker 2: film that I would say eighty percent of people will 76 00:04:05,880 --> 00:04:10,760 Speaker 2: find infuriating, but if you stick with it, like you 77 00:04:10,840 --> 00:04:15,880 Speaker 2: kind of lean into the weirdness because it's quite surreal. 78 00:04:14,200 --> 00:04:18,680 Speaker 2: It's like that, it's like a David Lynch film. It's 79 00:04:18,760 --> 00:04:22,359 Speaker 2: like your goslanthemos, like poor things kind of all of 80 00:04:22,360 --> 00:04:24,760 Speaker 2: these kind of things are very similar to this, except 81 00:04:24,880 --> 00:04:28,000 Speaker 2: this has taken to an even more extreme level with 82 00:04:28,040 --> 00:04:30,840 Speaker 2: a French twist as well. But eventually you get to 83 00:04:30,880 --> 00:04:33,400 Speaker 2: a point where you're so engrossed you really want to 84 00:04:33,400 --> 00:04:36,919 Speaker 2: find out what happens. And the performances by George McKay, 85 00:04:36,920 --> 00:04:41,039 Speaker 2: who's wonderful, and LEAs Ado, who's just absolutely phenomen She's 86 00:04:41,120 --> 00:04:43,760 Speaker 2: so like riveting in this film. You can't take your 87 00:04:43,760 --> 00:04:45,960 Speaker 2: eyes off her, and you go along with it, and 88 00:04:45,960 --> 00:04:47,560 Speaker 2: then there's a payoff in the end and you go, oh, 89 00:04:47,720 --> 00:04:50,000 Speaker 2: I'm glad I stuck with it. It's yeah, it's a 90 00:04:50,080 --> 00:04:51,480 Speaker 2: very interesting film. 91 00:04:51,520 --> 00:04:56,520 Speaker 1: Curious now how many I'm totally confused just from the review. 92 00:04:58,279 --> 00:05:00,640 Speaker 2: I didn't want to give too many stils away enigmatic. 93 00:05:00,760 --> 00:05:04,320 Speaker 1: Yeah, I'm going to give it four okay, right, very 94 00:05:05,000 --> 00:05:08,280 Speaker 1: I do like the sound of it, but there are 95 00:05:08,400 --> 00:05:09,840 Speaker 1: a lot of factors going on. 96 00:05:10,120 --> 00:05:12,680 Speaker 2: That's one of those problems. Too many, probably too many because. 97 00:05:12,440 --> 00:05:15,159 Speaker 1: Once they said it in the future, and I wasn't 98 00:05:15,160 --> 00:05:19,360 Speaker 1: expecting the twisted a little bit eternal sunshine of the Spotless. 99 00:05:18,920 --> 00:05:19,680 Speaker 2: Movie very much. 100 00:05:19,680 --> 00:05:23,640 Speaker 1: So, yeah, when I loved that movie, all right, thank you, 101 00:05:23,960 --> 00:05:24,599 Speaker 1: thank you, guys.