Inside

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Natalie O Inside (2007) is the kind of film that doesn’t just fit into the New French Extremity movement—it defines it. Brutal, unrelenting, and gleefully transgressive, it takes a simple home-invasion premise and pushes it to the absolute breaking point of what audiences can stomach. The violence isn’t just shocking—it’s surgical, intimate, and relentless, making you squirm not only because of what’s happening on screen, but because of how long the camera forces you to sit with it. What elevates it beyond mere gore-fest, though, is its razor-sharp execution. The claustrophobic setting turns the house into a pressure cooker of dread, every corner humming with the threat of violence. Alysson Paradis sells the terror and desperation, while Béatrice Dalle’s intruder is one of the most terrifying presences ever committed to film—calm, determined, and viciously human in her cruelty. The tension between them becomes unbearable, and yet you can’t look away. Inside is disgusting, horrifying, and shockingly fun in that twisted way only French extremity can deliver. It’s a gut-punch of pure cinema, a reminder that horror doesn’t have to be safe or comforting—it can be raw, savage, and unforgettable. -------------------- À l’intérieur (2007) n’est pas seulement un film qui s’inscrit dans le mouvement de la Nouvelle Extrême Violence française — il en est l’une des incarnations les plus pures. Brutal, implacable et volontairement transgressif, il prend un postulat simple, celui de l’intrusion à domicile, et le pousse jusqu’au point de rupture de ce que le spectateur peut supporter. La violence n’est pas seulement choquante : elle est chirurgicale, intime et incessante, vous obligeant à vous tordre non seulement à cause de ce qui se passe à l’écran, mais aussi parce que la caméra vous contraint à y rester confronté. Ce qui l’élève au-delà du simple carnage, c’est sa précision d’exécution. Le huis clos transforme la maison en cocotte-minute de terreur, chaque recoin vibrant de menace. Alysson Paradis incarne parfaitement la peur et le désespoir, tandis que l’intruse de Béatrice Dalle reste l’une des présences les plus terrifiantes du cinéma : calme, déterminée et d’une cruauté glaciale profondément humaine. La tension entre elles devient insoutenable, et pourtant on ne peut détourner le regard. À l’intérieur est dégoûtant, terrifiant et, d’une manière perversement jubilatoire, incroyablement divertissant — exactement ce que la Nouvelle Extrême Violence française a de plus iconique à offrir. C’est un coup de poing viscéral, un rappel que l’horreur n’a pas besoin d’être rassurante ou confortable : elle peut être brute, sauvage et inoubliable. Rated 5/5 Stars •  Rated 5 out of 5 stars 09/04/25 Full Review Audience Member Sayang oras. Everytime na pinapakita un cgi baby sa loob ng tiyan e nagiging comedy imbes na matakot ka sa gore. Di ko din nagustuhan yun walang kwentang ending Rated 1.5/5 Stars •  Rated 1.5 out of 5 stars 06/14/25 Full Review W C S Taking a plunge into the French Extreme subgenre has its ups and downs. Though the carnage is turned up to 11, there is no substance to back it up. It has a nice cinematic layout/filter, but the acting, terrible sound effects, and nonexistent plot make over the top blood & gore the only reason to watch this movie. Rated 2/5 Stars •  Rated 2 out of 5 stars 04/26/25 Full Review Miguel M Una pelicula que te hace decir: ¡Cuanta brutalidad! Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 03/30/24 Full Review Ang B Oh my gosh!!! Predictable and unbelievable. Makes no sense. Rated 1/5 Stars •  Rated 1 out of 5 stars 02/14/24 Full Review Adam B Gratuitous gore. Not bad overall but very gory. Rated 2.5/5 Stars •  Rated 2.5 out of 5 stars 10/14/23 Full Review Read all reviews

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