‘Vincent Must Die’ Review: A Witty, Grimy, Timely Parable for Our Paranoid and Persecuted Times
10.10.2023 - 03:45
/ variety.com
Jessica Kiang Kathryn Bigelow’s underappreciated “Strange Days” features a line that goes something like “The issue isn’t whether you’re paranoid. The issue is whether you’re paranoid enough.” Although that film is set in 1999, it’s an aphorism would work equally well in Stéphan Castang‘s fun, violent, high-concept “Vincent Must Die,” as a punchy summation of post-pandemic — rather than pre-millennial — nervousness and malaise. Who among us has not gazed in dismay at a world that’s not just increasingly bad-tempered, but seems to hold against each one of us some focused, individual grudge? The times have doubtless always been bad, but they hit (and hit and hit) differently now, like this time, it’s personal.
Vincent (a terrific, cow-eyed Karim Leklou) is initially not paranoid enough/at all. A bit uninspired, perhaps. Low-level depressed, possibly.
And carrying his inevitable thirtysomething disillusionment in a little schlub around the midriff, for sure. But not paranoid; he has no reason to be — he’s a standard guy, a regular mec, a graphic designer who wears T-shirts under his jackets, cycles to work each day and probably thinks about the Roman Empire once or twice a week. Which makes it all so much more perplexing when one day at work, an intern he barely knows comes to his desk for an expressionless moment, then proceeds to beat him viciously around the head with a laptop computer.
His co-workers restrain the attacker, and soon Vincent’s back at his desk having promised his boss — who is also his ex-girlfriend but Vincent is like totally chill with that — not to press charges. A black eye blossoms, and a cut on his cheek bleeds a little, but otherwise no harm done. In fact, back at his apartment later as Vincent
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