"“The most intelligent, affecting study of one man's fragile frame of mind since Steve McQueen's Shame...”"

So, Simon Killer. A film about a killer. Called Simon. Well at least that is what one had assumed about Antonio Campos’ first feature in four years, yet instead was treated to what is the most intelligent, affecting study of one man’s fragile frame of mind since Steve McQueen’s Shame earlier this year.

Brady Corbet plays Simon, a recently jilted graduate, who decides to move to Paris to get away from the agony of the breakup with his first love. Although initially staying for just a week at a relative’s apartment, Simon gets entwined in a romantic affair with prostitute Victoria (Mati Diop), persuading the confused juvenile to prolong his stay – moving in with his new girlfriend.

Simon comes up with a high-risk plan of blackmailing Victoria’s clients, whereby she will film them during intercourse and then for Simon to threaten to send the videos to their respective wives, unless given money to persuade him otherwise. However, when becoming embroiled in such a vocation, Simon finds his life spiralling out of control, as while he begins to find confidence in France, starting to assert his authority over Victoria, he fails to consider the repercussions of his actions.

In what is an intense study of this manipulative sociopath, Campos intelligently plays with the audiences perceptions, as to begin with it’s difficult not to like our protagonist, finding him relatable and endearing, as you can’t help but find pity for this heartbroken individual. However there is a turning point later on in the film where it suddenly dawns on you that you don’t actually trust Simon whatsoever, adding a very tense atmosphere to the film. Simon is manipulative and vindictive, caring for no-one but himself. Suddenly any endearment felt towards him turns to guilt, as it becomes increasingly clear just why he is now single and has fled to Paris.

Campos adds to the taut atmosphere using a technique whereby he shoots characters as they walk the streets from around a yard behind them, following the back of their heads in lengthy sequences. This voyeuristic approach is effective as it adds a sense of paranoia to proceedings as it gives off the impression the characters are being followed.

Meanwhile, the sound track is also fantastic, as what we hear are the same songs that Simon is supposedly listening to on his MP3 player. Despite the dark, intense nature of this film the music is contrasting, as the songs he listens to are danceable and uplifting. Also, credit must go firmly by way of Corbet, in a fantastic performance, allowing us to get into his characters head but keeping enough of a barrier to his demeanour so that it still requires a degree of work on the audiences behalf to try and figure him out. 

There is a point in Simon Killer – around three quarters of the way through – where it feels as though it becoming somewhat mundane as you begin to question the entire point to this production. However as the film reaches it’s dramatic finale, everything comes together and suddenly we are provided with a wonderful thing called hindsight, as we piece together much of what came before, except now with the added bonus of having some context.

In other words, you have to stick with this film – ignore the tedious aspects that exist within the middle stages to this film – and by the end you’ll be absolutely certain it was all worth your while.