Film: Man Bites Dog
Release date: 9th October 2000
Certificate: 18
Running time: 92 mins
Director: Rémy Belvaux, André Bonzel & Benoît Poelvoorde
Starring: Benoît Poelvoorde, Rémy Belvaux, André Bonzel
Genre: Crime
Studio: Tartan
Format: DVD
Country: Belgium
Shot on a shoestring budget by a group of Belgian film students, this documentary-style black comedy went on to win numerous awards at Cannes, and across Europe.
Ben is a charismatic serial killer who makes his by living stealing from his hapless victims. Joined by a group of filmmakers, Ben is given a chance to share his wisdoms with the world, from explaining the intimate details of how to sink a dead body, to the mating patterns of pigeons.
Taking the crew through his daily routine of murder, thievery and rape, he still finds time to introduce them to his family and friends. As the relationship between Ben and the crew develops, they find themselves plunged further and further into his world, dealing with deaths, rivalries and other such “occupational hazards” to their own lives, but all the time keeping an unshakeable commitment to their film...
Simultaneously directed by and starring a group of adventurous film students, it would be easy to expect something run of the mill, it is, however, far from this. Its documentary style fits perfectly, constantly crossing and blurring lines between reality and fiction, achieving a realistic and believable mock documentary. From Shane Meadows' Le-Donk Vs Scor-Zay-Zee back to Spinal Tap, no other mock documentary film has possessed the subtlety which makes this such a success.
This falls massively on the shoulders of Benoît Poelvoorde as the films anti-hero Ben. His role as poet, philosopher-cum-serial killer is powerful enough to move from loveable to truly disgusting within a single sentence. The film opens with a brutal murder, portrayed with shocking reality and raw, unrelenting detail, though this is instantly contradicted with the almost cartoon-like Ben explaining the techniques for sinking the dead bodies of midgets and children in a brilliantly dark yet hilarious tone (this sets you up perfectly for the remainder of the film).
Our misguided leading man sees himself as a man of high society, known in exclusive circles of the art world, as well as a musician, food and drink connoisseur, boxer extraordinaire and poet. A generous, loving, well educated scholar, he is naturally made to be a star. This is far from true, with Ben being a twisted macabre character - racist, sexist, perverted and exploitive but with tongue so deeply in cheek it's almost coming out the other side. A wannabe Hannibal Lector, but more akin to The Office’s David Brent.
The ability of this film to truly move between the realms of reality and fiction is its true genius. Ben's family are the best example of this. They are the filmmakers’ family, in true low budget student film style, yet seem so attuned to the presence of the camera, it borders on documentary, yet Ben stands among them with such comfort and style that you can truly believe he is part of this family unit, with all its charm and character still so intact.
This is complimented by a technical knowledge that sits almost invisible within its own surroundings that it draws you in all the more. Seamless editing brings you through what could so easily be quite a long drawn out scene in a matter of seconds. At times feeling like a precursor to the likes of The Blair Witch Project, it can shock and disorient with skilful use of sound and handheld camera techniques - in fact, the last shot of the film is near identical to that of The Blair Witch Project. Also, when Ben robs a suburban household after being mocked by the film crew for only preying on old women, the death of the whole family is shown in realism and style with handheld camera shaking its way through woods and darkness.
The film does drag towards the end, when the film takes a more serious turn - losing its otherwise masterful sense of pace and rhythm in what feels like an attempt to hit the feature length time limit, but this does not take away from the enjoyment of this cult classic. The biggest compliment is that the film rarely reveals its student film roots, whilst mocking them with a sensibility that gives it a depth missing from so many films of a similar ilk.
A true masterpiece and a cornerstone for low budget film, Man Bites Dog (C'est Arrivé Près De Chez Vous) is created with such skill and creativity that it shall remain a timeless classic forever deserved of its cult reputation. JP
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