8/31/2023 0 Comments French movie fake eyeballs bathtub![]() ![]() Even the most ardent misogynist would walk out of the theater feeling sick to their stomach after watching the suffering that (mostly) men inflicted on these women. The sequence of images in the film goes far beyond mere horror tropes and violent acts they are grotesque, horrifying, and terribly realistic. Though various critics vilified director Pascal Laugier for making such a horrible showcase of violence against women, I think films like Martyrs serve a very real and important purpose. In many cases, this critique is fully and completely warranted. ![]() People often criticize the horror genre for fetishizing violence against women. ![]() Not to be confused with the American Martyrs remake from 2015, which dials back the violence and torture significantly, the original French version is by no means an easy viewing experience. You might not like that I’ve essentially laid out the entire plot for you, but I think it is necessary to know exactly what you’re getting into before watching a film like Martyrs (2008). This leads us to the final sequences of the film, though the Martyrs ending leaves us with more questions than answers. Eventually, the organization decides that she is ready to enter the final stage, which involves her being completely flayed alive. The remainder of the film is primarily sequences of brutal violence committed against Anna on a routine basis. The woman claims that young girls tend to make the best subjects, but thus far, all of the victims have either died or gone insane before actually reaching martyrdom. We discover that the woman is part of an organization working to find “martyrs,” or people who have undergone so much pain and suffering that they have achieved transcendence. An unnamed woman (Catherine Bégin) enters and, through somewhat rushed exposition, explains the purpose of the facility to Anna. It is here that the mystery of Lucie’s past comes into clearer focus. Realizing that Lucie had been telling the truth all along, Anna attempts to help the poor woman. The woman resembles the monster that constantly tormented Lucie. Within the facility, she finds a woman bound in chains. Now left to grieve the death of her friend and clean up the scene of the crime on her own, Anna starts investigating the house, where she finds a secret passageway leading down to a high-security facility. In any case, the “monster” ultimately pushes Lucie to slit her wrists and kill herself. Soon after, Lucie is once again visited by the monstrous woman we watch the scene unfold from Anna’s perspective this time, which shows that the woman is just a figment of Lucie’s tortured mind. Lucie is devastated that Anna ostensibly doesn’t believe her, or that she thought the woman was worthy of saving. Anna attempts to help her escape, but Lucie finds them and bashes the woman’s skull until she is long past dead. While Lucie tries to rest and recover from her injuries, Anna begins to clean up the bodies, only to find that the mother has survived her gunshot wounds. Lucie believes that killing the perpetrators will rid her of the nightmarish creature that torments her, but she continues to be followed and attacked by the woman nonetheless. When Anna arrives at the large country house, she attempts to help Lucie cope with what has happened. She kills the parents and their two children with a shotgun. She is tormented by a disfigured woman who appears and attacks her at random.įast forward 15 years and Lucie tracks down a married couple whom she believes to be responsible for her torture. The two develop an inseparable bond, though Lucie struggles to shake off the demons of her past. After being placed in an orphanage where she struggles to socialize, Lucie is befriended by another young girl, Anna Assaoui (Morjana Alaoui). The story follows the tragic life of Lucie Jurin (Mylène Jampanoï), a young girl who, in 1971, escapes an abandoned building where she had been systematically tortured and abused for more than a year.
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