Originally published in Film Comment, July/August 2016
Post-traumatic stress disorder may be a familiar presence in contemporary cinema, but it’s only one dramatic strand in Alice Winocour’s invigorating second feature. The French writer-director’s interest in genre—in this case, the thriller—is of a practical nature, concerned as much with craft as is with the particulars of plot.
Matthias Schoenaerts stars as Vincent, an aggrieved ex-soldier hired to protect Jessie (Diane Kruger), the wife of a wealthy Lebanese arms dealer. Disorder unfolds in a manner resembling its no-nonsense protagonist: chiseled and efficient, the film discards all extraneous gestures. The majority of the characters’ psychological development occurs through its three increasingly impressive setpieces: two in and around the secluded mansion where Vincent and Jessie spend their time cautiously considering each other’s intentions; and one in a parking lot where an attempted kidnapping devolves into a brutal, nerve-jangling shoot-out.
Refreshingly, little attempt is made to psychoanalyze Vincent, the cognitive effects of his condition instead rendered through handheld but precise camerawork and an intricate, disorienting sound mix. His and Jessie’s contrived situation likewise forgoes fortuitous romantic complications. Even the film’s ending is left to the viewer’s interpretation rather than neatly packaged with explication. With Disorder, Winocour has skillfully reconfigured established forms, calling upon the medium’s most elemental tools to prompt an intensely physical response. ♦