Bloody Oranges further explores the true sense of optimism and puts it against the chaos of life. This idea isn’t purely invariant, as you can see it sliding up and down throughout the three acts. However, despite the horrific and graphic visuals, the director manages to balance some sense of hope in the story. This optimism is powered by the inclusion of a cover of Wonderful Life by the English band Black.
The Tarantino-esque style of filmmaking heavily highly inspires the film. The way it transitions from one genre and theme to another gives a Pulp Fiction vibe, though the story isn’t non-linear. The clever and crisp editing from Flora Volpelière further allows Meurisse to be more thorough and impactful with the ideas he wishes to convey, making Bloody Oranges a much more dynamic and vital experience.
“…thorough and impactful with the ideas he wishes to convey…”
The performances are a little inconsistent and often fail to deliver the payoffs with the required impact. However, Grasmug empowers the film with her multi-faceted expressions and the impeccable change she brings to her character throughout. Besides Grasmug, Steiger looks convincing as a career-oriented lawyer who finds his way through life as his arc progresses. But the combined work of Meurisse and Volpelière perfectly glosses over these blocks, leaving little room for stumbles.
Meurisse’s satire on France, which he manifests through nothing but a quote, is a film that is secretive and revealing at the same time. The title doesn’t really give away anything, never hinting at the later explosion of metaphors, shifting gears from being a heartfelt comedy to a grotesque thriller. There are several points that the writers and director want to make, and they excel at most of them. Sometimes the story seems to be charging into action, clueless about the intended payoffs, which may send viewers into disarray and a sense of dissatisfaction. However, the nerve-wracking climax is what stays with you at the end. And hence, Bloody Oranges somehow registers itself as an important film and proves significant in every cinematic sense.
"…somehow registers itself as an important film and proves significant in every cinematic sense."
