Rating: 4 out of 5 (excellent)
Director: Michael Pearce
Cast: Jessie Buckley, Johnny Flynn, Geraldine James, Trystan Gravelle
Synopsis: Summertime in Jersey, a killer stalks the land, and Beast’s protagonist Moll (Jessie Buckley) flees from her sham birthday and a family which is suffocating her. A chance encounter in her flight causes a budding relationship between Moll and fellow outsider Pascal (Johnny Flynn). Moll’s connection with Pascal is more bad than good, exposing her to the cannibalism of a community frenzied by fear.
Twisting between fairytale and thriller, Beast is a nebulous story laced with layers of meaning. Glancing at the surface, Beast’s setting and tale of loving the monster conjures up Claude Chabrol’s Le Boucher. Yet beyond the veneer Beast is about our latent evil and how forgiveness is a far better weapon of control than guilt. Encapsulated in one visceral act of self-harming, it becomes clear that something is deeply wrong with Moll. Moll’s problem is buried in the past, a sin wielded over Moll by her family to reduce her to the role of valet, nanny and carer. Sin, guilt and regret are nothing new in stories, but what marks Beast is how Moll’s sin has been weaponised through forgiveness. Instead of being reminded of what she has done, Moll is controlled by her mother’s guise of love, friendship and progress.
The name Beast alludes to the animalistic nature of man as family members and authority figures turn against Moll. The theme is more pronounced among certain characters who symbolise different animals. Moll’s manipulative mother (Gerladine James) is akin to a spider while detective Cliff (Trystan Gravelle) is a bloodhound. The picturesque Jersey setting is also deceptive. The quaint connotations around the tourist spot come tax haven crumbles as Moll and Pascal are pilloried. The rich acquaintances of Moll’s family treat Moll with snickering disdain while the rest of the island condemn her and Pascal as murderers. In his choice of landscapes, the land of Jersey takes on a duality through director Michael Pearce’s vision. Verdant meadows and orchards shining at dawn give way to desolate and eerie fields and swamps. From characters to setting, Beast ensures that nothing is ever clear until the end. Cinematographer Benjamin Kracun’s eye for the land captures the distinctiveness of Britain, contrasting the synthesised depiction of how viewers abroad see the country. Despite all the suffering and trauma that Beast depicts, I could not help seeing the film as one beautifully twisted postcard of Jersey.
Replete with twists and dream sequences, Beast ensnares you in a maze of suspicion from which none are safe. The film is only undermined by a plot straining under its own complexity. Last minutes revelations and surprise twists create an impact laced with an aftertaste of dissatisfaction by upending the plot’s overall narrative of exclusion.
By Saul Shimmin
For the trailer, see below: