By Miranda Murray
CANNES, France, May 19 (Reuters) – Danish filmmaker Nicolas Winding Refn returned to the Cannes Film Festival 15 years after his breakthrough hit “Drive” with a dark new fable shaped by what he described as the hidden narratives driving modern media consumption.
“I love the idea of juxtapositions of narratives,” he told Reuters, recalling how he loved flicking between TV channels as a child because it allowed him to go between worlds – an experience now echoed with social media’s endless scroll.
“The algorithm essentially creates an internal narrative that you’re unconscious of, because it feeds what your emotions react to,” he said.
“All that is becoming very interesting in terms of what is cinema. Because is cinema really just deep down an experience that we just chase?”
“All of that combined is … what ‘Her Private Hell’ is.”
Refn first came to Cannes in 2011 with “Drive,” starring Ryan Gosling as a getaway driver, which won him the best director prize and established his reputation in arthouse cinema.
He followed up with another Gosling-led thriller, “Only God Forgives,” and fashion-world horror “The Neon Demon,” before turning to television.
‘LIKE PERFORMANCE ART’
“Her Private Hell,” which premiered out of competition on Monday, marks his return to feature filmmaking.
In typical Refn fashion, the highly stylised film opens with Elle, played by Sophie Thatcher, in a neon-lit penthouse above a city shrouded in a mist that brings with it the legend of a killer known as Leather Man.
Havana Rose Liu plays her stepmother, while Kristine Froseth appears as a young actress named Hunter.
In a parallel storyline, an American GI in Tokyo, played by Charles Melton, fights through the city’s seedy underbelly while seeking his daughter, who the killer has taken.
Cast members described a fluid, unconventional shoot, with scenes evolving day by day.
“There was a script, but every day he would come with a dream or an idea, and then we’d follow that,” said Froseth.
Thatcher, who recently headed the horror films “Companion” and “Heretic,” recalled the experience as the most absurd but also artistic and collaborative she has had.
“It almost felt like it wasn’t acting; it was like performance art.”
(Reporting by Miranda MurrayEditing by Rod Nickel)
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