While attending a retrospect of his work, a filmmaker recalls his life and his loves: the inspirations for his films.
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In this satire, a group of modern-day Americans are captured by a WW2-era Uboat, with a sinister cargo, bound for NYC.
BRUTAL centers on Trevor (Morgan Benoit), abducted from his backyard at the age of fifteen by an unseen alien presence. Forced into nearly two decades of no-holds-barred fights against other abductees inside an unearthly mixed martial arts arena, Trevor has evolved from an innocent boy into a brutal fighting machine. Derek, (Jeff Hatch) an ambulance chasing lawyer, is the latest lab-rat abductee forced to fight Trevor. As the two men exchange ever-increasing beating over the course of weeks and months, the brutality of their existence and the true nature of their humanity is slowly revealed. With elements of THE TWILIGHT ZONE and THE PRISONER, BRUTAL explores through science fiction, allegory and psychological drama, man’s violent nature and our propensity to commit unthinkable acts of violence against each other. Yet through this prism of brutality our capacity to love one another, even in the worst of circumstances is celebrated.
In the 30s, a small village in the Provence is losing its inhabitants because young people prefer to go to the city to find easy jobs and escape from being farmers living in relative poverty. Only a few old people and the poacher Panturle remain. Panturle dreams of bringing the village back to life, finding a wife, founding a family and work as a farmer. One day, the village is visited by a traveling knife-grinder, Urbain Gedemus and a young woman, Arsule. Gedemus treats Arsule like a slave, but Arsule accept this because she has nowhere to go and -we guess- her ‘work’ with Gedemus is the last thing that saves her from being a prostitute. When she meets Panturle and knows about his dreams, she escapes from Gedemus and decides to stay with him. Together, they start a new life, made of hard farming work but mostly of happiness to have each other – fulfilling the earlier dreams of Panturle. Can anything break the happiness of their new life?
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Romain, 31, a photographer, learns that a malignancy may kill him within a few months. Decisions: treatment? work? how to tell his lover and his family. He remembers the sea and himself as a child. He stares in the mirror. He’s cruel: facing death, he pushes people away – what’s the point? He visits his grandmother to tell her; on the way, he chats briefly with a waitress. He looks at old photos, visits a childhood tree house. He takes pictures. Returning from his grandmother’s, he stops for food and sees the waitress, Jany, again. She makes a request. He returns to an empty flat – his lover has left. Can Jany’s proposition give him a way to move past self-pity?
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