The concept of “toxic masculinity,” originally known from academic subjects like gender studies or sociology, has become a ubiquitous buzzword since #MeToo at the latest. “the animalsBy director and screenwriter Nabil Ben Yader “Let Al-Layl” does not add anything new to this on an intellectual level or that it is deliberately simple. Because it is not so important here what or what He said, but How And he said.
A film adaptation of Yadir’s true murder case from 2012, which is at least from a legal point of view the first anti-gay murder in Belgium, rigorously and ruthlessly showing what a manhood completely out of control can lead to. The film is an angry shriek, it makes headlines that quickly fade tangibly and tangibly in the most agonizing way possible. Yader does not want intellectual speech, he wants to make it clear once and for all what is wrong with the greatest concentration.
In the first part of the trilogy, you’ll get to know 30-year-old gay Muslim Ibrahim (Sofian Sheila), who nervously awaits his friend Thomas during his mother’s big birthday party. Ibrahim’s homosexuality is a taboo subject in his family, and very few people know that he is gay. However, a long time will come on Thomas, which is why Abraham began to find him after a while and made a terrible mistake in the city’s nightlife: he got into a car with four men. Where Part Two Begins: The four turn out to be the animals of the same name, the drunken guys who absolutely freak out when the passenger admits he’s gay.
They took him to a far field, where they beat him to death in an endless orgy of violence and then left him there. In the third part, “The Animals” follows Loïc (Gianni Guettaf), formerly considered the “weakest link” of the male quartet but finally asserting himself that night in the eyes of others, home. He experiences his social environment as he wears a suit and attends his father’s wedding. Episode is a mirror image of the first episode, showing the similarities between the victim and the perpetrator, because both are looking for acceptance in a society that they simply cannot accept due to completely outdated values…
The main thing is “strong”
Just like a Brahmin does not belong due to his social environment with certain ideas about how men should be (in one scene, Ibrahim’s brother Mahdi explains that his wife thinks he is gay too because he is defending her), Loik, who stands in contrast to other men because of his soft appearance , not of them. Lowe is humiliated at home by his more frantic and mightier brother, and it is clear that on that night he has a chance to let go of the pent-up aggression: in the last act of the offense he overpowers Abraham, who was lying on the ground, and then secures himself again and again covered in blood: “I’m strong!”
Even if the focus on murder is motivated by homophobia: dominance and aggression are essentially the driving forces behind all the group’s actions – this is also noticeable in a marginal aspect: Loïc may be “androgynous”, but there are also significant tensions between two other members, Bay where There is also a certain strength imbalance in play.
But Yader only touches on many things very briefly, his main concern being creating an effect of attraction, to bring the viewer as close as possible to the characters and events – mostly performed by great amateur actors*. On the other hand, this is achieved through camera action that sticks close to the characters and through many long sequences that don’t have any (recognizable) pieces. On the other hand, by the narrow 4:3 image format, which emphasizes Ibrahim’s imprisonment and is further narrowed to the typical Instagram 9:16 format at the beginning of the killing: in an almost endless, almost unbearable sequence, the cell phone changed offenders, depicting what Being and commenting on it with stupid words.
The formal aspect is ramped up to the extreme, quickly creating an intensity that – to put it casually – really pushes you sometimes into your seat, especially as the director constantly explores the limits of what can be shown: the midsection, which is already frighteningly realistic, also makes anal rape with a branch does not stop.
Conclusion: Nabil bin Yader does not want an intellectual discourse, but rather expresses his anger. He wants to give face to a victim of completely meaningless violence, he wants abstract headlines to become tangible and tangible and to draw attention to the fact that what many still understand as “manhood” can be pure poison. The movie “Animals” is not easy to bear, but it is a dazzling and impressive movie with a clear attitude.