One of the many enduring lessons that horror extols is to be wary of the small, remote town that opportunities, tourists, and highways have passed over. I am happy to report that this classic trope remains firm in the new film THE SOUL EATER by French filmmakers Julien Maury and Alexandre Bustillo. Artfully juxtaposing sub-genre hallmarks with their signature style and flair for gore, Maury and Bustillo deliver a compelling and atmospheric police procedural that isn’t afraid to venture into some dark and murky subject matter shadows.
Recently making its North American premiere at the Fantasia International Film Festival, THE SOUL EATER is an adaptation of Alexis Laipsker‘s popular novel with a script co-written by Annelyse Batrel and Ludovic Lefebvre. Though perhaps best known for their decisive horror films INSIDE, THE DEEP HOUSE and LEATHERFACE, THE SOUL EATER highlights the visual prowess that Maury and Bustillo possess and how capable they are of translating their style of filmmaking to other adjacent genres.
The film revolves around two investigators whose paths intersect in the small French town of Roquenoir. Elizabeth Guardiano (Virginie Ledoyen) is a commander who drives in from the big city to investigate a brutal double homicide. Franck de Rolan (Paul Hamy) is a member of the Gendarmerie who specializes in cases that involve “alarming disappearances,” specifically those involving missing children. Despite Guardiano’s initial stance that her case has nothing to do with de Rolan’s, the two soon find themselves walking a singular path involving local folk legends, buried traumas, and a brutal, unspeakable evil.
As the investigators, Ledoyen and Hamy deliver performances that are flawlessly cold and detached with just the right amount of sensitivity. With both characters harboring deep, hidden wells of pain, this is a familiar trope that could have gone horribly awry. Thankfully, Ledoyen and Hamy bring humanity to their respective roles, feeling equally believable and earned. The film takes its time to develop Guardiano and de Rolan as characters and allows their professional relationship to evolve organically. When their traumas breach the surface, previous actions and incidents all click and make sense.
Even though many elements of THE SOUL EATER feel familiar, Maury and Bustillo smartly lean into what they do best to separate the film from the rest of the police procedural pack. And, by what they do best, I mean, killer practical effects, production design, and gnarly, bloody gore. A big part of what fuels the film’s first half is the sudden violence perpetrated by seemingly average residents of Roquenoir for no apparent reason. Embracing this part of the story with open arms, Maury and Bustillo feature some surprising set pieces and effects that are as unnerving as they are amazing.
While the story takes time to get rolling, once Guardiano and de Rolan sync up and realize their cases are undeniably the same, nuggets of information fall cleverly into place. With so many modern films spoon-feeding exposition and constantly needing to clarify every move and motive, it is refreshing to encounter a movie that isn’t afraid to say, “Just chill. We’ll get there.” Though some may find the slower pace frustrating, this patient approach builds intrigue, tension, and engagement in the central mystery. The incredible score by frequent team collaborator Raphaël Gesqua further reinforces and strengthens this decision. Haunting and dynamic, Gesqua’s music perfectly matches the film’s energy while never overplaying or overselling the supernatural elements simmering beneath the surface.
Beautifully shot by cinematographer Simon Roca, THE SOUL EATER has an expansiveness that feels highly authentic and timeless in its beauty. Despite being set in a fictional town in France, what Roquenoir represents and the issues that plague its residents could (sadly) be picked up and set down in any number of states, regions, or countries. This element of the film only becomes more evident as Guardiano and de Rolan find themselves hot on the trail of the titular Soul Eater and the true evil that has been percolating, festering, and growing amidst its presence.
With THE SOUL EATER, Maury and Bustillo again prove they are an expectation-defying duo. From aquatic horror to iconic franchise IP to original content, it is easy to see and feel the pair’s bloody fingerprints all over their projects, and this latest offering is no different. While fitting comfortably under the police procedural sub-genre umbrella, THE SOUL EATER is a harrowing and unnerving exploration of humanity’s darkest impulses and the lies we tell to keep our collective demons at bay.
The 2024 Fantasia International Film Festival runs July 18 to August 4 in Montreal, Quebec, principally at the Concordia Hall and J.A. de Sève cinemas, with additional screenings at the Cinémathèque québécoise and Cinéma du Musée. For more information, please visit the Fantasia website here.
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