This is quite a raw film. I'm going to say little so to avoid the main shocks. It kind of twists the genre a little as we see one woman fall in love obsessively with an amoral man out to cheat woman out of money. He has a voracious sexual appetite, and this is a major arc in this film, but how does he and his new lover balance it all out.It's dark, it's highly violent and very cynical. It's as much horror as it is a thriller. You won't be leaving this film with a spring in your step.The acting is fabulous by our main leads (actually by everyone in it), and they really unsettle you. The camera work is claustrophobic and dark, avoiding anything flashy. It adds to the suffering nature of the film.This isn't for everyone, you will need a strong stomach for this one. If you are interested in dark extreme cinema, then this could be for your. For the rest, I'd say you better check out what exactly it is before you go in, as I wouldn't be surprised if you walk out during the movie.

I'm not really a fan of modern-day serial killer films, unless they happen to be made in the East (a region that continues to put out excellent examples of the genre, including THE CHASER and KILLERS). I love the old classics such as 10 RILLINGTON PLACE, but too often these modern versions merely serve as an excuse for torture porn (as in the execrable Spanish H6: DIARY OF A SERIAL KILLER) or are far too arty for their own good.ALLELUIA falls into the latter category, and only now do I realise it was directed by the same guy who made the equally lacklustre CALVAIRE. The story is about a couple of weird characters who go on a killing spree and cut up various middle aged women, but there's hardly any more plot to it than that. Instead, director Fabrice Du Welz is content to focus on one bad taste scene after another, whether it be the violence inherent in the premise or unpleasant scenes of explicit sex between middle aged characters. I thought I was watching STRANGER BY THE LAKE again at some points! Despite the presence of some familiar actors in the case, including THE RETURNED's Laurent Lucas, this isn't really an actor's film as the director is too involved with trying to make it look stylish and arty. Instead, it looks cheap and grubby, and the subject matter is so off-putting that I could barely watch it. In fact, I hated ALLELUIA from beginning to end and found no redeeming values in it whatsoever.

Watched the film twice so far. Fabrice Du Welz is one of my all time favourite directors. I discovered him from Calvaire that became one of my all time favourite films. Director investigates love and unusual relationships of mostly deluded people. Imo love+religion+terror is the ID card of Du Welz. After Vinyan I was looking forward to see something morbid, atmospheric and insane and absolutely enjoyed this film! Watching Alleluia I found this to be somehow related to Calvaire that was released 11 years ago. The same actor, the same female name Gloria (as Bartel's wife), as well as religious background. Apart from the fact that its based on the real events, I find there's a strong relation to Calvaire. As if director was making part II. Imagine years of recovery that Mark had after escaping the farm. He somehow had to earn for a living, hence started dating for cash. And his headaches from the past trauma..Gloria sings and Bartel's wife Gloria also used to sing. Just change the name Michel to Mark Stevens and there you go. Anyone else find it being rather sequel to Bartel and Mark Stevens love story? P.S. if you haven't seen Calvaire first, please ignore my message.

Based on the same true terrifying history that was the blueprint for Deep Crimson (1996). It shares with that film, the same naturalness in which the warped way of thinking of the murder spree couple is relayed. However this 2014 version is set in Belgium, and there is a lot of deviant sex and gore-ish bloodshed on display. Despite being rather squeamish myself, the magnificent acting and the story itself held me captivated from beginning to end. The director treats us to various cinematographic effects (sometimes music video like) to create a certain mood; in particular to embellish the perverse. Despite, the gruesome content of the film, there were moments where I was in stitches with laughter, because the main actress, Lola Duenas, was so convincing in her role, that when she was howling with laughter, so was I. The same goes for male main actor, Laurent Lucas. Both manage to convey excellently the pitch black humour present in the script. The song featured half way throughout the film, out of left-field momentarily converting the film into a musical, also adds to the macabre aura of the main character, and is a -break the fourth wall- moment, intensifying the creepiness you are then irrevocably immersed in. This song is fully fleshed out into an electro track to great effect for the final of the film. So it's not just randomly inserted in there.The Belgian director / writer of this film has certainly proved that he is a master of his craft (and in my opinion far outshines his French contemporaries).