Benny (Pauline Cousty) is a French student living in London trying to direct
her first horror film. Even though she is enrolled on a theoretical Film
course, she wants to submit a feature film as a dissertation as she feels it is
more creative and personal. After moving
out of her unassimilated lonely mother’s flat, she begins to sleep on any sofa
that friends and acquaintances will provide, which fuels a growing kleptomania
and drug addiction.
The first feature film from Ben Woodiwiss is a love letter to
cinephilia and the love of genre. The
protagonist is a passionate horror fan who understands and champions the
importance of interpretation of films and the intelligence of filmmaking.
Benny floats around London in a soft-focus
haze of cigarettes and joints, refusing to wash through a dislike of the
feeling of water. Her professors are
trying to empathise with her creativity, yet remind her that she will only keep
her funding if she conforms to their criteria for the course.
The men in the film are all represented
as threatening, another nod to horror conventions, which means that Benny
engages almost entirely with other women.
This means that there are a rich diversity of three-dimensional female
characters, from the reluctant star of Benny’s film to the paranoid drug
dealer, that are refreshing to see.
The film manages to create a dialogue
with the audience over genre conventions, both by having them central to the
content and the form. In other words, by
having the central character discussing horror genre conventions throughout the
narrative, the audience is being positioned to interpret the technical
conventions of the film we are watching in a more active way.
Benny
Loves Killing is arguably a drama, but Benny (the character) is talking
about her film in such a way that we begin to interpret the film (BLK) more as a
horror, with the impending sense of dread that horror films are designed to
deliver. This sleight of hand makes the
film an infinitely more enjoyable experience, as it offers alternate readings
and interpretations as the plot develops.
Pauline Cousty, who plays Benny, gives a
brilliantly tortured and subtle performance as a young woman who is unsure
whether to emulate or simply observe the people around her. She moves at times like a bird that is
investigating its surroundings, picking at jewelry and other trinkets in the
houses that she has broken into.
As a debut feature film, Benny Loves Killing acts a manifesto for
more intelligent film production. The
budget was small but the attention to detail is really high, allowing the
audience to interpret what they are given instead of passively accepting ‘the
narrative’. It consciously involves the
audiences in the process of filmmaking and therefore challenges us to work
harder in interpreting and deconstructing the films that we watch.
Both Ben (the director) and Benny (his on-screen alter ego) are directly addressing us all to think more about films, which is a message I wholly endorse...
Really love the depth of thought this reaches. Just to let people know, the film is now available to rent or buy on our VoD page:
ReplyDeletehttps://vimeo.com/ondemand/bennyloveskilling