Jean-Jacques Beineix's new film MORTAL TRANSFER is about the misadventures of Freudian psychoanalyst Michel Durand (Jean-Hugues Anglade), who discovers his beautiful female client strangled on his analyst's couch. Instead of going to the police, he just tries to get rid of the body, leading to a nightmarish and at times phantasmagoric odyssey through a nighttime Paris populated by assorted oddballs. The script is by Beineix and Jean-Pierre Gattegno, from Gattegno's novel of the same name. Anglade provides a great mix of vulnerability and determination as the occasionally hapless shrink. "He's wonderful, he's not afraid of anything," commented Beineix at the film's world premiere at the Berlin Film Festival.
Beineix visited Moscow in 2001 to present the film at French Film Week. In an interview with Russian entertainment website Weekend.ru, Beineix provided the key to understanding his film: "What do we do in the process of psychoanalytic therapy? We try to get rid of the body of our childhood. What do killers do in detective movies? They try to get rid of the body. I just combined these two stories. My film is from the point of view of the psychoanalyst and the patient at the same time. Gattegno and I both underwent psychotherapy. We were amused by the possibility of transferring to acting, to comedy, those feelings we'd had on the analyst's couch. Not one session of psychoanalysis ends without the unconscious examination of the patient's attitude toward death."
Due to its increased complexity, the film is just slightly more challenging to appreciate than Beineix's other work, such as DIVA and BETTY BLUE. Nevertheless, it is just as exquisitely crafted, and is markedly more humorous, albeit in twisted ways. Beineix has a flair for the unexpected - this is a heady mix of genres: a stylish black comedy and a tense thriller at the same time, told with warm colors, broad strokes and an element of the perverse.
Beineix visited Moscow in 2001 to present the film at French Film Week. In an interview with Russian entertainment website Weekend.ru, Beineix provided the key to understanding his film: "What do we do in the process of psychoanalytic therapy? We try to get rid of the body of our childhood. What do killers do in detective movies? They try to get rid of the body. I just combined these two stories. My film is from the point of view of the psychoanalyst and the patient at the same time. Gattegno and I both underwent psychotherapy. We were amused by the possibility of transferring to acting, to comedy, those feelings we'd had on the analyst's couch. Not one session of psychoanalysis ends without the unconscious examination of the patient's attitude toward death."
Due to its increased complexity, the film is just slightly more challenging to appreciate than Beineix's other work, such as DIVA and BETTY BLUE. Nevertheless, it is just as exquisitely crafted, and is markedly more humorous, albeit in twisted ways. Beineix has a flair for the unexpected - this is a heady mix of genres: a stylish black comedy and a tense thriller at the same time, told with warm colors, broad strokes and an element of the perverse.