Movie Review ~ MadS

I made the mistake of watching MadS one night when I should have been getting ready for bed. Usually, I have no trouble starting a film late because I can easily wind down after and find myself in Dreamland quickly, but the adrenaline this French horror film infused in me kept me up way past my bedtime.  Drawing on the same kinetic energy that has kept Apple Watches reminding people to breathe while watching movies like Run Lola Run, MadS is a visceral experience shot in one continuous take that is exciting and exhausting.

A wild, nightmarish ride through the streets of a small French town during a virus outbreak pushes the limits of technical filmmaking to their maximum potential, even if the final destination can sometimes feel elusive.  The story falters along the way (vanishes completely, I’d say), but writer/director David Moreau’s film demands your attention with its bravura display of heated ambition. Whether you walk away energized or totally worn out will depend on how much you buy into its high-concept, unable-to-sit-still delivery.

Fresh-faced 18-year-old Romain (newcomer Milton Riche) has the house to himself and has driven his dad’s classic car to his dealer’s house just outside town.   Getting ready for a night out means picking up supplies for him and his friends, and he heads home properly stocked up and stoned (driving right through the movie title, an incredible shot that symbolizes the character’s descent into madness).  On the ride back, a wounded woman gets into his car, and while he can’t call the police (too stoned, too many questions), he can bring her to the hospital, though she violently kills herself before they get very far.  With a bloody mess to deal with and a dead body to consider, Romain goes home, unaware a viral outbreak is commencing.  That’s when everything really starts to go wrong.

Remember, this action so far has been captured in one single shot.  Romain exiting the dealer’s house, getting into his car, stopping, picking up the woman, the two of them riding back into town, her death, him arriving home.  Philip Lozano’s camerawork is astounding, and while there have been movies claiming to be made in one long take, there are usually obvious moments where the cuts show.  I haven’t dug too deep into Lozano and his work on MadS, but I couldn’t see any noticeable splices where the shooting was interrupted.   In my mind, the experience is legitimate, putting Lozano’s camera into the filming with reckless energy as it darts down narrow streets, packed houses, and cramped spaces. 

However, ambition can have its limits, and as impressive as the achievement is, there are times when it works against the narrative.  While most of the filming is complemented by Nathaniel Méchaly’s pulsing electronic score thrumming beneath the chaos happening onscreen, there are many instances where we are solely watching the actors travel from one place to another.  Yes, it’s an immersive experience, but scenes of characters running, biking, or walking across town feel more like logistical filler than essential storytelling.  Vital momentum is lost before the arrival amps up the vicious (and viscous) energy again.

Diving headfirst into the madness is a cast mostly comprised of up-and-coming actors.  Riche’s wide-eyed and overwhelmed protagonist is the first act anchor on our fever trip, the vessel for our anxiety before he hands it over to the film’s univocal standout, Laurie Pavy.  Pavy’s already a volatile, highly emotional character, and as she becomes infected with the virus spread by contaminated blood, she unleashes an unpredictable side that you can only stare back at in amazement.  The remaining cast, Lucille Guillaume and Yovel Lewkowski, bring their unique touches to the ensemble, as does Sasha Rudakova’s brief but haunting appearance as the mysterious woman whose gruesome death sets the entire story in motion.

Known for his previous work co-directing the tension-soaked Them from 2006 and the 2008 American remake of The Eye, Moreau brings a disquieting edge to even the most mundane interactions.  However, the focus on technical showmanship often overshadows his screenplay, leaving the characters and plot feeling less memorable than the execution.  I would almost have loved to see what this could have been as a three-shot, 48-minute short because there’s about enough material for that much time. 

Likely to find a home among fans of cult cinema, it’s a perfect release for the streaming platform Shudder, which revels in risk-taking films that divide audiences.  If you’re the kind of cinephile who appreciates big swing boldness, even when it stumbles, MadS is a must-see.  But for those looking for an air-tight narrative to go with their gonzo scares, it might wind up feeling like you’ve signed up for an impressive experiment that goes up in flames.  Either way, the journey is unforgettable, even if you aren’t sure you’d want to take it again.