This strange film is set on the northern French coast around Calais.A vagabond(David Dewaele)lives in the wilds of nature,with a small fire to keep him warm.His companion,a teenage dark-haired virginal goth(Alexandra Lematre), walks with him everywhere. They are both lost in a mirage of naturalism,supposedly beyond both good and evil,'hors Satan'. There is no back-story.The man gives to people what they want:to the young girl he is a protector,refusing to have sex with her and killing the guard who harasses her,he's also killed her step-father for abusing her at the start of the film.Police make enquiries about the murders. The goth lives with her mother.To a hitch-hiker he brings sexual bliss,so she is frothing at the mouth. For the mother whose daughter is possessed he drives out the demons by raping the possessed young girl.He moves around his territory like a hunter-gatherer, but the territory is spiritual and he seems to commune with nature,kneeling,taking in the land and sky.He can knock at any door and get a bite to eat,as the people who live around here trust him.His young companion gets raped and dies and he mysteriously takes her body out into the landscape and lays it in a certain way and leaves it.The strange ritual is a form of resurrection.He is a holy fool or shaman,a phalli-centric worshipper of nature.What do we make of Dumont's purpose here? He has taken the character who was marginal in his last film,Hadewijch, but was pivotal as the natural man in saving the central character from committing suicide, and he's made him the central character in this film,which has no music; you hear only the sounds of nature,breathing,walking,the wind, leaves, water and birds.The characters have no names.This is a new world of primitive,mythological fantasy.The objective lens pans the countryside, dunes,trees,marshes, hills,streams,capturing sunrise,magic-hour,the long shots are slow,panoramic, the dialogue minimal,impregnating us with the image like a Poussin or Constable painting.The character can be seen as both evil and good,being one and the same thing.The characters are half-way between symbol and reality.Dumont is the atheist moving towards Bressonian subject matter(The Devil, Probably),bringing in religious themes. In this society we seem free of the ills of capitalism and modern technology,in marginal space,a magical zone,outside the normal rules that would apply in urban life in cities and towns.There is a serial killer rapist in the vicinity,who has a dog.When the police capture him,the natural wanderer takes his dog and walks on to his next location.This ends a trilogy of films made on spiritual themes. Absolutely astonishing.

I am not going to write a summary about this film or explain what it is about.This is a film where you have to let go the concept of 'story'. Don't search for a narrative structure. This film is all about 'feeling' and 'experiencing'. In my opinion something that is harder and harder to find in modern cinema, that is mainly there to 'entertain' audiences.This is a film that redefines the concept of 'interpretation'I would like to give a short explanation why...The moment I started the movie and watched the first images I was immediately absorbed by the sheer beauty of the landscape and how this landscape is framed (done by the fine French cinematographer Ives Cape). I learned in these first few minutes that the framing is key in this picture. In 'Hors Satan' it is not merely the framing (observing) of a composited shot. It is much more...What happens in 'Hors Satan' is the constant shift between the objective view and the subjective view of an image. We (as an audience) see two figures, traveling trough a desolate landscape. Through forests, plains of sand, a small quiet village (the center point in this landscape). They don't talk much. They just walk along. Their facial expressions tells enough.This is the objective side of 'Hors Satan'. The camera and the spectators 'observe' But in 'Horse Satan' one will also find a high amount of subjectivity. In this film the two protagonists are constantly 'watching', and we see them doing just that! We see what they see. A meadow, branches of a tree poking into the air. This brings us closer to the projected image. It seems as if Bruno Dumont literally places the camera on the exact spot of the eyes of the watching actors. By doing just that, we observe the characters watching and then we too are able to observe what they see. In fact that doesn't seem to be a lot for the observing audience, but at the same time there is a lot of information within these frames. Part of the message of the film, of the subtext, is hidden. This 'watching' of the landscape trough the eyes of the protagonists makes the film much more of a subjective experience.It seems that this alternative form of film making, of a different film language is very rare these days. There are few authors who do it. And if you liked 'Hors Satan', you should definitely have a look at the rest of Dumont's oeuvre (the films: La vie de Jesus, L'Humanité, Twentynine Palms, Flanders, Hadewijch) and also check out film makers like Bela Tarr, Leos Carax, Terrence Malick, Aleksandr Sokurov and Matthew Barney.You, as a spectator (I include myself as well) has to create a different way of 'reading' films like this. Let the story structure go, except questions that will not be answered, and again, don't search for a narrative safety line. Just let it roll over you.

People in a rural French village believe a mysterious drifter possesses healing powers and one troubled young girl in particular has embraced the stranger as a deliverer to ease her sufferings. The stranger spends most of his time walking and meditating like some Old Testament prophet in the desert. When he does speak it is only in terms of banalities. As we watch Bruno Dumont's "Outside Satan" we are drawn to this mystical figure. Is he an ascetic on retreat from the world? Is he a cult leader seeking gullible apprentices? Does he possess powers that transcend this world and if so what is the source of that power: good or evil? His behavior defies easy classification. I've never seen anything quite like this film and there will inevitably be numerous interpretations. David Dewaele is mesmerizing as the enigmatic protagonist. Alexandra Lematre is the sensitive young girl who travels from Goth rebelliousness to faithful acolyte. "Outside Satan" moves at a slow tempo punctuated with some jarring moments resembling the natural course of life and this is enhanced by the purely naturalistic soundtrack completely devoid of any musical accompaniment. This is avant-garde cinema and won't appeal to all tastes but if you're looking for something unique this certainly qualifies. It's been said that the notion of a devil provides religions with the means to reconcile the existence of evil with a world governed by a benevolent God. Perhaps it is this idea that Dumont is probing in "Outside Satan". What if there were no opposing forces and instead there was just one mysterious all-encompassing creation that offered no easy answers?

Set in the Côte d'Opale region of Southern France close to a river and marshland, an enigmatic loner referred to only as "The Guy" (David Dewaele) stays alive by poaching and building fires. A girl from a nearby hamlet also unnamed and known as "The Girl" (Alexandra Lematre) is drawn to him, feeds him, and provides companionship and they go on long walks together. Controversial French director Bruno Dumont's latest film, Hors Satan, is a puzzling, excruciatingly slow, meditation on the nature of good and evil and whether Christ and Satan could be two sides of the same coin. As the film opens, The Guy and The Girl meditate together in the open fields and pray together at the edge of the ponds, though it is not clear to whom they are praying.There is no physical relationship, though The Girl seems to want it. There is little dialogue and the only sounds we hear are the ambient sounds of nature. The Girl follows The Guy without question and doesn't raise an eyebrow when he kills her stepfather whom she claims is tormenting her. "He won't ever bother you again," he says. The police investigate but no one is arrested and the couple remains emotionally detached from what is going on. The Guy's actions are morally ambiguous. Presumably to enhance their redemption, he clubs animals to death and severely beats a guard (Christophe Bon) who wants to get close to The Girl.He is also a healer, however, as demonstrated when he restores a catatonic girl to life, but a grotesque sex scene with a camper borders on the unwatchable and raises more troubling questions about who he really is. While no meaning is attached to events, the film appears to be saying that good and evil are not mutually exclusive, that one can contain the other but its meaning seems muddled. The Guy may be Christ who has returned as a lion rather than a lamb, or then again, he may be Satan, or a combination of the two. Dumont's premise follows the tenets of religious orthodoxy postulating the existence of the Devil, but what he really seems to be asking is whether or not the end ever justifies the means.In other words, does it matter what kind of methods you use if a desirable result is achieved? Apparently The Guy does not think it does. While Hors Satan contains many biblical allusions such as walking-on-water and resurrection and speaks the language of metaphysics, the film is hardly a spiritual experience. In Carl Dreyer's Ordet and Carlos Reygadas' Silent Light take on similar material, there is beauty, poetry, and humanity, significantly absent in this often violent film. Dumont once told an interviewer that "you don't have to be civilized in the movies, only when you come out of the theater," and said that "to be civilized you have to have the experience of barbarism." Although the film falls short of barbarism,it is mostly an unpleasant experience with scenes of in-your-face ugliness, and I didn't feel any more civilized when I came out. Dumont says that his films are a slap in the face to get the audience to wake up. While this is a commendable goal, judging from the response of the sparse audience in the showing I attended where half of the audience walked out and the other half fell asleep, it seems as if the viewers may have failed to get the message. Dumont once said, "I'm not indifferent to the public. I will end up being a filmmaker for big audiences, I may be 70 by that time, but I will get there." If Hors Satan is any indication, he may get there, but it won't be in this lifetime.