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Parisian robbers on the run pick the absolute worst place in the universe to hide out. Frontier(s) writer-director Xavier Gens was obviously smitten with genre classics like The Texas Chainsaw Massacre and The Hills Have Eyes, but I suspect there’s a sneaky tip of the beret to French New Wave provocateur Jean-Luc Godard, as well. See? I studied film.

A quartet of reasonably attractive thieves flees the political turmoil and violent protests in Paris for the anonymity of the French countryside in order to count their loot. Sidebar: What could people in Paris be upset about? You live in Paris! Have another creamy pastry and wash it down with some fine wine. Sheesh!

Unwilling accomplice Yasmine (Karina Testa) and her three coconspirators decide to hole up in a bed and breakfast/pig farm staffed by Cannibal Nazi Hillbillies (Canazibillies?) and are soon horrified to find themselves on the menu. The Canazibillies have little trouble subduing the brash bandits, but then old resentments boil over during the divvying of the spoils and the Master Racists are reduced to fighting amongst each other.

Even as Paris is awash in violence after the election of a right-wing candidate, Yasmine and her friends use the opportunity to commit robbery, preferring cold, hard cash to either side of a political demonstration. I believe it is their cynical lack of commitment to a cause that makes them suitable candidates for torture and a trip to the pantry. What happens when shameless opportunists meet fanatical sadists? Well, it ain’t pretty that’s for sure.

Even if the revolutionary subtext is stretched thin to the point of invisibility, Frontier(s) provides effective shocks to the system with frantic regularity as captor and captive alike meet a succession of grim fates. Perhaps Gens is pointing out that the fruit born of violence, whether calculated or chaotic, is equally bitter and deadly. Don’t worry, this won’t be on the test.

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