Few of those who saw ‘Robocop’ during its release will forget the moment when one of the bad guys screams “Help me” as his flesh crumbles after a drum of corrosive products falls on him. Think of the trauma when we take all the horror of the body to the level of disaster. It was probably the closest thing to hell on earth that Dante could think of, but this is just one atmospheric possibility that the film ‘Acid Rain’ shows us in detail.
Fortunately, Just Philippot’s new work does not always focus on melting bodies and blood burns, but this is a completely ruthless document that affected the previous festival you wanted. The creator of ‘The Cloud’ once again presents a naturalistic style to introduce the concepts of ecoterror with a climate message, changing here a possible invasion of insects with a frequent event that occurs and may worsen as the temperature continues to rise.
A lesson in the form of a collective dream in which the consequences of acid rain are not softened, in the vein of the brutal nuclear speculation of the 80s as ‘The Next Day’ (1983), which reclaims the brutality of the fiction of atomic assumptions designed to alert world politicians in the twilight of the cold war as ‘Last Will’ (1983) or the almost unbearable’Poisons’ (1984), which points to a human-induced environmental possibility, and like those, its brutality reveals an unrelenting desire to raise awareness.
Ecothriller with a climate message
The director’s script, with Yacine Badday, is ruthless and a task, but he certainly adapts to the disaster film tropes. to an agent who would not even allow asylum. He already pointed out his activist intentions in his proposed presentation of the protagonist, a security recording in which he leads a picket against the riot police for a labor claim that shows a gray side of him, which defines his actions in the next world with no rules to present to us.
With a classic family game as the starting point, acid rain will set the protagonists on a route, like a road movie not so different from the model ‘War of the Worlds’ (2005) by Steven Spielberg, which has been adopted by many films and series of the genre since then. We are filled with moments of impact and apocalyptic horror, with a desire to argue where the production expands the point of view.
It’s in the first section where there’s a lot of overview; the big one sets pieces without envying the great American products. They also left images of startling beauty, like that panoramic shot in a plot where people and horses are running while clouds hide in the sky. There are details from ‘The Incident’ (2008) of the abstract nature of the threat, which becomes more concrete when we see the rains escaping the clouds in the sky like a child’s play.
Great show, but not an escape
Even more frightening than the Netflix series ‘The Rain’, the method has changed so much in the real outcome that such an event can have, without sweetening or twisting situations for the sake of the strange ease, which left us in some moments that seemed to be searching. the easy reaction, but it is completely consistent with the logic it suggests. Its progression in phases has a didactic spirit that summarizes that, under acid rain, burning to death is not the worst effect that can result.
How it affects water currents, infrastructure, land conditions, electrical installations, etc. to reveal the disaster it will cause, ‘Acid Rain’ should only limit its apocalypse to one area of France, not even reveal a global situation, but it determines and focuses on the map of emphasize the capricious and arbitrary aspect of such meteorological phenomena. No one is safe, and the atmosphere does not understand which cities are better or worse.
Philippot’s cinema is not beautiful to look at, but it has many inspiring moments, so persistent and committed from its inception to its final results, without giving up the great performance of the production and the consideration of the show as something more than adventure, adventure, and escape. With an almost documentary mood and a genre focus, it is somewhat disappointing that these releases with powerful alternatives for the big screen are relegated to cover releases on platforms and VOD.