Title: Simon Killer
Directed By: Antonio Campos
Starring: Brady Corbet, Mati Diop, Michael Abiteboul, Constance Rousseau
“Simon Killer” isn’t for everyone, but it isn’t trying to be. Director Antonio Campos is there to serve Simon and Simon alone, resulting in an experience that’s uncomfortable and disturbing at times, but also an all-consuming hypnotic character study.
Brady Corbet’s Simon is a recent college graduate who runs off to Paris after breaking up with the girlfriend he’s had since high school. Space seems to be exactly what he needs until Simon finds himself obsessively trying to make contact with her. Soon thereafter, Simon winds up at a strip club where he strikes up a relationship with a prostitute, Marianne (Mati Diop) – and no, not that kind of relationship, a very real, somewhat wholesome one. Yet again Simon seems to be heading towards better times until his inner demons start to creep back in, threatening to spoil any progress he’s made.
“Simon Killer” is very clearly a low budget effort, but Campos’ unusual shot selection, slick yet minimalist editing, and a sound track full of memorable cover songs ups the production value tenfold while also turning the film into a particularly effective character piece. An absorbing cover of M.I.A.’s “It Takes A Muscle,” a curious strobe effect, and the reveal that the music is actually coming through a pair of ear buds puts us in Simon’s shoes in a mere minute. The ear bud shtick is a success time and time again, as is Campos’ choice to have the camera follow Simon from place to place, but it’s Corbet’s natural performance that brings the character to another level, and a somewhat disturbing one.
At the onset, Simon is a total charmer. Between Corbet’s baby face and Simon’s innocent attempts at conversational French, you’re rooting for Simon minutes after meeting him, putting Rousseau in the opportune spot to make her grand entrance as Marianne. Simon is seemingly a wholesome young man looking for an honest relationship, so paying for a prostitute isn’t what you’re rooting for him to do, but that’s before you really get to know Marianne. The transition from Marianne being a working prostitute to a working prostitute with a big heart is a little abrupt, but, by that point, you’re so desperate for Simon to find solace, anything or anyone will do and she becomes a pretty decent option.
However, as their relationship progresses, it turns into something that feels real, and feels real pertaining to her profession. After Simon wedges his way into Marianne’s life, “Simon Killer” turns into an odd mix of soft-core porn and crime thriller. While the crime thriller element is intriguing, the soft-core porn portion does run the risk of turning viewers off. There’s a lot of sex going on here and it’s not the overly romantic, dream-like sex we get in more commercial fare. After a while, it can be tough to watch.
But that’s where Simon’s scheme to extort money from Marianne’s clients makes for some much needed and highly successful breathing room. It’s an intriguing scenario, but again, Simon isn’t the slick man with the plan you might get in more high concept displays. He’s smart and tough, but also confused and even a little bumbling. Essentially, he goes about his little scheme as though a real person might, not knowing exactly what to do and making a lot of desperate mistakes.
As engaging as this element of the film is, the best thing that comes out of it is how the two portions work together to form a more complete view of Simon. The raunchy sex may not be fun to watch, but it’s necessary to peel back the layers, and get a peek at who Simon really is, and the same goes for his money making scheme. It keeps in line with the fact that Simon is a very smart guy, but also adds a degree of recklessness and selfishness to his persona. Then, after spending about 90 minutes connecting the dots, the end result explodes in an intensely disturbing and well-earned climax courtesy of the film’s performance prowess and technical achievements.
“Simon Killer” is like nothing you’ve ever seen before. Rather than have multiple shots comprise a scene, Campos shoots just about every moment from a single viewpoint. The camera sits, tracks or pans, and the characters move about the frame until the scene is complete in its entirety. There are a number of instances where the technique is too glaringly obvious, like when we’re looking at the characters’ midsections or even an empty room, but more often than not, the style is impressively unobtrusive and even manages to enhance a few moments.
“Simon Killer” is a must-see for anyone interested in indulging in a commanding, lead performance or with an appreciation for unique directorial expressivity, but it also most certainly is not for everyone. The film’s unusual tone, shooting style, character, and willingness to go to dark and uncomfortable places will undoubtedly lose some along the way, but for those who are swept away by Simon, you’re in for a twisted experience that’ll undoubtedly leave a mark.
Technical: B
Acting: A-
Story: B
Overall: B
