The Beast

In the near future where emotions have become a threat, Gabrielle finally decides to purify her DNA in a machine that will immerse her in her past lives and rid her of any strong feelings. She then meets Louis and feels a powerful connection, as if she had known him forever.

Credits: TheMovieDb.

In the near future where emotions have become a threat, Gabrielle finally decides to purify her DNA in a machine that will immerse her in her past lives and rid her of any strong feelings. She then meets Louis and feels a powerful connection, as if she had known him forever.
Cast:

• Gabrielle: Léa Seydoux
• Louis: George MacKay
• Poupée Kelly: Guslagie Malanda
• Dakota: Dasha Nekrasova
• Georges: Martin Scali
• The Medium: Elina Löwensohn
• Gina: Marta Hoskins
• Sophie: Julia Faure
• Tom: Kester Lovelace
• Augustin: Félicien Pinot
• Architect: Laurent Lacotte
• Veronica: Veronica Szawarska
• AI System (voice): Xavier Dolan
• Director (voice): Bertrand Bonello
• Clubgoer: Isabelle Prim

Crew:

• Producer: Bertrand Bonello
• Producer: Justin Taurand
• Location Scout: Fabien Pondevaux
• Writer: Guillaume Bréaud
• Writer: Benjamin Charbit
• Executive Producer: Olivier Gauriat
• Key Hair Stylist: Romaric Colombini
• Hair Department Head: Miguel Santos
• Makeup Artist: Hue Lan Van Duc
• Line Producer: Tatiana Bouchain
• Steadicam Operator: Loïc Andrieu
• Location Scout: Caroline Ruelle
• Location Scout: Manuel Tritschler
• Music Supervisor: Joss Dumas
• Casting: Sarah Teper
• Editor: Anita Roth
• Costume Design: Pauline Jacquard
• Production Design: Katia Wyszkop
• Line Producer: Ron Eli Cohen
• First Assistant Director: Barbara Canale
• Third Assistant Director: Thomas Dahirel
• Property Master: Édouard Blaise
• Sound Engineer: Nicolas Cantin
• Boom Operator: Baptiste Kleitz
• Boom Operator: Robinson Van Caeneghem
• Digital Compositor: Tania Jaime Gonzalez
• Electrician: Victor Andrysiak
• Still Photographer: Carole Béthuel
• Grip: Maxime Boisbeaux
• Additional First Assistant Camera: Benjamin Colleye
• Costume Assistant: Mathilde Baillarger
• Costume Assistant: Clarissa Saraiva
• Wardrobe Assistant: Eléa Talandier
• Colorist: Jérôme Cloutier
• Post Production Assistant: Marina Crassaris
• Assistant Editor: Charlotte Soyez
• Location Assistant: Bastien Chemtov
• Co-Producer: Alexandre Mattiussi
• Short Story: Henry James
• Casting: Carmen Cuba
• Director of Photography: Josée Deshaies
• Music: Anna Bonello
• Makeup Designer: Maïna Militza
• Assistant Makeup Artist: Daphné Hesnard
• Co-Producer: Nancy Grant
• Sound Editor: Clément Laforce
• Sound Re-Recording Mixer: Jean-Pierre Laforce
• Dialogue Editor: Agnès Ravez
• Gaffer: Marianne Lamour
• Underwater Camera: Marion Botte
• In Memory Of: Gaspard Ulliel
• Set Dresser: Florence Aillerie
• Co-Producer: Xavier Dolan

Catogories:
Romance,Science Fiction,Drama
These ingredients are astonishing!!

Language:
Français,English
Production:
Canada,France
Company:
Les films du Bélier,Sons of Manual,My New Picture,ARTE France Cinéma
Popularity:
277.007
Date:
2024-02-07
Year:
2024

• CinemaSerf: Though it’s really way too long, I did rather enjoy the developing chemistry here between Léa Seydoux (“Gabrielle”) and George MacKay’s “Louis”. The story isn’t really structured, it’s all largely dictated from her consciousness lounging in the bath of Guinness no longer needed by “Baron Harkkonen” where she is having her DNA cleansed. This is ostensibly to make her life happier and more fulfilled, to take the rough edges off disappointment and pain – and generally to turn her into a rather soporific drone. The thing is, whilst plugged in and gently soaking we discover that her brain isn’t co-operating with the process and that she is having very lifelike fantasies – historical, contemporary and futuristic with the handsome and enigmatic “Louis”. The story in itself isn’t really up to very much. It’s an episodic jaunt through what is/was/might be their lives – together and apart. What does work well is the ambiguity. The sense that artificial intelligence, either working on it’s own or at the behest of humanity, can rearrange our thoughts and our memories. It can create as convincingly as it can delete comprehensively – and all because there is a sense that emotions are unpredictable, unreliable and therefore a threat to the stability of a new “natural order”. The dialogue can meander into the realms of psycho-babble now and again which does detract from the subtle but clear thrust of the narrative, but it is actually quite a scary prognosis of what might become fact if we are not careful to protect what is real and important.