Réalisation:
Steve McQueenPhotographie:
Sean BobbittMusique:
David HolmesActeurs·trices:
Michael Fassbender, Liam Cunningham, Karen Hassan, Des McAleer, Stuart Graham, Lalor Roddy, Ciaran Flynn, B.J. Hogg, Brian Milligan, Liam McMahon (plus)Résumés(1)
Prison de Long Kesh, Irlande du Nord, 1981. Les prisonniers politiques de l’IRA sont incarcérés dans le sinistre Quartier H. Entre mouvements de protestation et répression, détenus et gardiens y vivent un véritable enfer. Bobby Sands, le leader des insurgés, entame une grève de la faim, bien décidé à aller jusqu’au bout… (MK2)
(plus)Vidéo (2)
Critiques (8)
Vous vous demandez en permanence quel est le but de ce film, qui ne fait que montrer, avec un œil visuel stoïque à la Kubrick, le traitement horrible des prisonniers de l'IRA dans une prison anglaise. Même dans la deuxième moitié, lorsque le scénario oublie les personnages précédents et se concentre sur le martyr volontaire de Fassbender, nous ne sommes que des observateurs de choses qui glacent le sang dans les veines. Mais ici, le film atteint un autre niveau grâce au méga talent de l'acteur. Le sens du film est enfin donné par le fait que la souffrance que le(s) personnage(s) a/ont vécue(s) n'était pas inutile. Un coup puissant dans la tête du spectateur. JEREMIE
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A painfully physical experience. Persistent, intense, gradual and scorching. McQueen risks serious accusations of political controversy, but this film is not about defending ideology, but rather about the often Baroque-rigid and visually brilliant image of humiliation, determination, and suffering. In terms of structure, the film resembles a three-winged altar full of blood, renunciation and feces - an altar that does not accuse, react or evaluate... only radiates a disheartening chiaroscuro. Steve McQueen is undoubtedly a huge talent with his artistry, economical language and sober sharing ability.
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I understand what Steve McQueen is going for, and I must admire him for not giving in to anti-populist form even for a moment, while avoiding the feeling of a self-indulgently slow pace. The boundary between raw reality and explicit atrocities and violence is sometimes quite thin, and Hunger crosses it too many times for my taste. Of course, Michael Fassbender can weigh twenty kilos even with the bed included yet still captivate me with a mere glance. But more often than not, I sneered at it disgustedly instead of experiencing it.
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Hunger is a film that feels absolutely convincing, evokes exactly the emotions it wants to evoke, and is economical in its expression. It is told through imagery and the only crucial dialogue between the hunger striker and the prison chaplain is a delight in how many layers, connotations, probing, and information it contains. This drama can provide a complete picture of the problem in a reasonable duration of 95 minutes and literally engulf the viewer. The theme of torment, and frustration of prisoners and guards who are limited by political guidelines from people who have no real idea about the actual situation and no intention of dealing with it far away in parliament. It is a battle of willpower, ideology, ideas, sacrifice, intimidation, and strength. A controversial film that is not for everyone. Overall impression: 95%.
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A heavy, existentially tuned and extremely personal drama that attacks the limits of the viewer's emotionality in a completely indiscriminate, mentally and physically exhausting way. Unfortunately, this applies only to the second half, when watching Fassbender suffer voluntarily makes us more nauseous than Jackson's Braindead – if the whole film was like this, it would immediately reach top positions in the popularity charts here and perhaps even the percentage rating. Unfortunately, the opening part is boring and confusing rather than shocking and, despite all efforts at authorial innovation, quite uninteresting, too, so my rating is just a logical outcome of two completely different halves. But nothing against McQueen, his patient and strongly poetic approach would prove very useful and even massively successful in subsequent films. And here (in the first half) is the germ of everything. 70%
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Annonces