Chorus

A smoldering beauty of a film, Chorus slowly reveals itself in this bleak but hopeful black and white examination of grief from Québécois director François Delisle. An acutely aware portrait of a relationship after the unimaginable, it surveys a young couple’s reaction to finding their young son Hugo dead after being lost for ten years.

With such an unfathomable subject matter, one feels a deep sense of pity from the very beginning of the work. The obvious parallels in how both of Hugo’s parents, Irene (Fanny Mallette) and Christope (Sébastien Ricard), are dealing with the grief of their lost son provide the greatest narrative for the film. Irene has never recovered, her apartment is still varnished with remnants of her son’s life and she refuses to invest in any new relationships. Christope has found lodging in Mexico, where he spends his days wrapped up in bed with beautiful women or frolicking around the serene coastline. While Christophe’s plight may initially seem distant and cold, his scars are definitely still ripe.  

The plot offers no great twists or surprises throughout: it has much more of an interest in emotion and character development. Both Mallette and Ricard bring a convincing intensity to the screen: they provide uncompromising and raw performances that help ignite this observational tale.

The understated black and white cinematography and intimately spoken overtones throughout remind you that this is a film positioned for an art-house market. While being a thoughtful and educated piece, it lacks the drive and plot density to excite the greater masses. 

Tim Mead

Chorus does not yet have a UK release date.

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