November 20, 2015 at 9:15 PM PT

Disorder

Directed by Alice Winocour  |  France/Belgium  |  99 min

A soldier (Matthias Schoenaerts) suffering from PTSD is assigned to protect the wife (Diane Kruger) and son of a shady Lebanese businessman in this taut character-driven thriller. Though everything at “Maryland”—the lush, private Antibes estate where they are staying—seems calm, Vincent is anxious and on edge, and just because he suffers from paranoia doesn’t mean that he shouldn’t be wary.
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Description

Vincent (Matthias Schoenaerts, Rust & Bone), a soldier on leave while suffering from PTSD, is eager to get back to his Special Forces unit despite his persistent symptoms. While he awaits news about his possible redeployment, he takes a job with some other servicemen providing security for a lavish party at “Maryland,” the lush, private Antibes estate of a shady Lebanese businessman, Imad Whalid. Vincent notices things that make him suspect some underhanded business, so he is exaggeratedly on edge when he agrees to extend the stint, staying with Whalid’s German wife Jessie (Diane Kruger) and her son while the businessman is away. But just because Vincent suffers from paranoia doesn’t mean that he shouldn’t be wary. Told largely through Vincent’s anxious point of view, Alice Winocour’s claustrophobic character-driven thriller makes the most of rhythm, sound and silence to create an atmosphere of unease that builds to a brutal conclusion.

Biographies

Director Alice Winocour

Alice Winocour’s first feature film, Augustine, was presented as part of Critics’ Week at the 2012 Cannes Film Festival. A graduate of Le Fémis in screenwriting, Winocour wrote the screenplay for Vladimir Perisic’s Ordinary People and collaborated on the screenplay of Deniz Gamze Ergüven’s Mustang, which premiered at the 2015 Directors Fortnight and is France’s Oscar entry for Best Foreign Film. About Disorder she has said, “I wanted to approach an area that’s generally the preserve of men: genre film. My choice was certainly influenced by the idea of reasserting that, for female directors today, the sky’s the limit.”