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5.0 1
Director: Delphine Gleize,

Cast: Chiara Mastroianni, Ángela Molina, Lucia Sanchez


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Carnage, an example of what the French call un film chorale, tells several intertwining stories. In the central tale, a young, second generation bullfighter, Victor (Julien Lescarret), is gored and rushed to the hospital in critical condition. A little girl, Winnie (Raphaëlle Molinier), sits next to a massive Great Dane and watches the fateful bullfight


Carnage, an example of what the French call un film chorale, tells several intertwining stories. In the central tale, a young, second generation bullfighter, Victor (Julien Lescarret), is gored and rushed to the hospital in critical condition. A little girl, Winnie (Raphaëlle Molinier), sits next to a massive Great Dane and watches the fateful bullfight on television, becoming obsessed with the bull. A university researcher, Jacques (Jacques Gamblin of Safe Conduct), cheats on his massively pregnant wife, Betty (Lio), who hides a critical fact about her pregnancy from him. Jacques' brother, Luc (Bernard Sens), an amateur taxidermist, lives with their mother, Rosie (Esther Gorintin), who loves him, but withholds a family secret. Winnie's teacher, Jeanne (Lucia Sanchez), struggles to understand her neurotic mother, Alicia (Ángela Molina), when she visits. When her car is dented by a shopping cart, Carlotta (Chiara Mastroianni), a struggling actress, meets Alexis (Clovis Cornillac), a suicidal philosopher/skater who offers to lead her to the culprits. Carnage, the debut feature from writer/director Delphine Gleize, won the Sutherland Trophy at the 2002 London Film Festival and Best Screenplay at the 2002 Stockholm Film Festival. It was also shown at the 2002 Cannes Film Festival and at Lincoln Center in New York as part of its 2003 Rendez-Vouz With French Cinema.

Editorial Reviews

All Movie Guide - Josh Ralske
Writer/director Delphine Gleize's acclaimed debut feature, Carnage, is a well-made, thoughtful, and superbly acted multi-tiered drama that doesn't quite add up to the epiphany it seems to be straining for. But it's consistently compelling. Gleize is a precise and clever filmmaker. She gets tremendous tension out of a simple shot of a little girl's eyes as she watches a bullfight on television, transfixed. The cast is uniformly excellent, bringing out depths in the characters that aren't present in the dialogue and plot. Raphaëlle Molinier, the aforementioned little girl, is wondrous as the spookily perceptive Winnie, and Clovis Cornillac is also noteworthy as a suicidal man whose impulse to follow the trail of his obsessions could lead him to the peace he seeks. There's a lot going on in the film, and it's all interesting, but it often borders on contrivance. A tragic turn at the end of the film is clumsily foreshadowed at the beginning. Gleize and her cast have created rich characters, and the director (aided by the terrific widescreen cinematography of Crystel Fournier), effectively sets the mood and maintains the film's tricky mordant tone, evident in one child's comic mangling of language to describe the mangling of a toreador, and another's mistaking a bull's eyes for playthings. Carnage doesn't exactly hit the bull's-eye itself, but these virtues keep the film afloat despite problems with the needlessly complex plotting.

Product Details

Release Date:
Original Release:
Fox Lorber
[Wide Screen]
[Dolby Digital Stereo, Dolby Digital 5.1 Surround]

Special Features

Bonus short films: "Dirtie Bastardz" and "A Castle in Spain"; Subtitle control; Filmographies; Web links

Cast & Crew

Performance Credits
Chiara Mastroianni Carlotta
Ángela Molina Alicia
Lucia Sanchez Jeanne
Esther Gorintin Rosie
Marylin Even Lucie
Clovis Cornillac Alexis
Jacques Gamblin Jacques
Féodor Atkine Paco
Bernard Sens Luc
Pascal Bongard Henri
Raphaelle Molinier Winnie
Lio Betty
Julien Lescarret Victor

Technical Credits
Delphine Gleize Director,Screenwriter
Pierre Andre Sound/Sound Designer
Antoinette Boulat Casting
Jerome Dopffer Producer
Andre Fonsny Art Director
Crystel Fournier Cinematographer
Eric Neveux Score Composer
Francois Quiquere Editor

Scene Index

Side #1 --
1. Warm Up [4:39]
2. Passion [4:21]
3. Interview [5:21]
4. Transfished [7:27]
5. Renaissance [5:58]
6. Juanita Banana [4:39]
7. Scattering Romero [4:35]
8. Hospital Visit [5:39]
9. Sexually Dependent [6:22]
10. Pre-Natal Concerns [4:24]
11. Art Critics [4:39]
12. Bull's Eye [4:14]
13. Dog Treats [5:28]
14. Not for Sale [2:57]
15. Mischievous Boy [5:44]
16. The Philosopher [6:43]
17. Labor Day [5:03]
18. Freddie's Dead [2:10]
19. False Memories [6:18]
20. Dinner Guests [8:26]
21. Truth in Death [4:14]
22. Hellish Singers [1:46]
23. The Gifts [6:10]
24. Romero's Effects [9:39]


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Carnage 5 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
CARNAGE is a stunning film - though from the outset it should be made clear that it is not a film for all audiences. For those who cringe at gore, those who are frustrated by nonlinear storyline, and those who feel uncomfortable with magical realism - beware. This is a two-hour plus journey that demands concentration and suspension of belief to glean all of the multilayered meanings it holds. Stylishly opening with the elegant dressing and preparation of a handsome young bullfighter discussing his incipient time in the ring with his father, the film moves into a the bull ring in Spain and while the young bullfighter is gored, a young girl watches in horror on a television in France. Thus the sequence of coincidences begins. The dead bull is dragged from the ring, butchered, and his various parts (meat to restaurants, horns to a taxidermist, testicles, eyes, etc) are sent to unrelated places in Spain, Belgium and France. Along the way we meet the child who observed the goring on television and discover she is epileptic and draws pictures where dogs are larger than humans (because her's is!), an actress searching for her center, a therapy group bonding and yielding primal screams while nude in a pool, a taxidermist who lives with his mother (the wondrous Esther Gorintin of 'Since Otar Left') and his estranged anatomist brother married to a woman pregnant with quintuplets (neither brother speaks to their damaged father), and so many more. Each of these characters encounters one form or other of the dead bull as food, souvenirs, gifts, etc: each time the consequences of these coincidences add greatly to the story. Meanwhile our gored bullfighter lies in coma in need of a liver transplant and it is one of the various women touched by the bull's demise in some way that dies in an accident and becomes the saving liver donor to the young bullfighter. The manner in which all of these myriad coincidental effects of the original bullfight mesh (altered relationships, rejoined parent/child schisms, deaths, altered lives) are sewn tightly together by the end of this apparent conundrum of a story. The cast is uniformly exceptional. The camera work and pacing are mesmerizing, making the willing eye of the viewer see far more than previously thought possible. Writer/Director Delphine Gleize is truly a talent to closely observe. The audience for this artwork may not be large, but for those souls seeking unique films this one is Highly Recommended. Grady Harp, September 05