Bloody Oranges (Oranges Sanguines)

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Bloody Oranges (Oranges Sanguines)

Some of the prior chatter that Bloody Oranges is another entry in the ‘French Extreme’ sub-genre with the likes of Martyrs and Haute Tension. That isn’t quite right although it approaches that in one scene this comes nowhere near the gruelling experience of those films.
This essentially has four stories that all blend together ending up as weird look at some elements of French society. So we have an elderly couple, Olivier (Olivier Saladin) and Laurence (Lorella Cravotta) entering a dance contest because debts are forcing them out of their home. A home that they are looking to leave to their children, one of whom is a lawyer Alexandre (Alexandre Steiger) who is advising an ambitious minister (Christophe Paou) who is facing a scandal also being advised by his political manager Thierry (Denis Podalydès). Then there is sixteen-year-old Louise (Lilith Grasmug) having an examination with a sympathetic female doctor who goes into some detail about her body and what to expect on her first time.
The film flips around bringing these stories together with the lawyer having a fractious meal with his parents while the minister has a soft-focus interview later on driving to a party when he has an accident and is forced to ask for help at the home of a very creepy individual (Fred Blin), thus introducing another character. Then the young lady finally has sex at the party and after some initial hesitancy, loves it and takes control. Walking home she is attacked and taken by the aforementioned creep.
Technically this is a fine-looking film with some great flourishes from director Jean-Christophe Meurisse, who co-wrote this with Yohann Gloaguen and Amélie Philippe. Its’s wordy at times but the cast are excellent making the best of the rich text. It strives for black comedy though that rarely hits the mark. The nature of the film means that it can appear fragmented though this is resolved as the film hits the third act and the most controversial part of the film.
Without giving too much away it’s another question of how far one can justify retaliatory action? Certainly the audience will have their views and there’s probably a bias in the writing and direction. But this isn’t just about the toxic alpha male personified by the minister and a repulsive taxi driver who hurls misogynistic abuse at Louise who gives as good as she gets.
This also looks at French society that appears to have deteriorated to such an extent that people are forced to dance to save themselves. And also the weaker argument that society has created the malevolence of some sections. Are the writers and director saying that this could be a cause but at some point responsibility has to be taken by the individual.
Bloody Oranges has a limited cinema release and will be available to stream from 16 September 2022.

Tags: Film-News.co.uk