The Beast in the Jungle is Henry James’ novella that has been adapted numerous times. This one marks the sixth cinematic adaptation though it’s very loosely based. In fact, Bertrand Bonello and his co-writers Guillaume Bréaud and Benjamin Charbit take so many creative liberties this one is more ‘inspired by.’

This is my intro to Bonello’s work but what drew me to it is Léa Seydoux, who proves to be the perfect actress for a centuries-spanning storyline where her character Gabrielle is on screen 95% of the time. Seydoux is stunningly gorgeous with an aura of mystique and solemness to her that I find captivating. We first see Gabrielle, a French pianist, at an elegant party in 1910 where she encounters Louis (George MacKay) and both are drawn to each other. It seems they know each other from the past, but it’s not clear if they’re former lovers. What’s certain is Gabrielle is married though it doesn’t seem to be a happy union.

The movie weaves in and out different timelines, marked with starkly different vibes, costumes, and production design. In 2044, AI has overtaken humanity and the remaining humans have to undergo a DNA ‘purification’ process that purges their memories so they become devoid of emotions. This part resonates in today’s culture as AI has pretty much transformed and even taken over corporate America, for better and for worse. Always impeccably dressed but now more casually coiffed, Gabrielle is subjected to numerous tests/interviews conducted with AI (voiced by Bonello himself) where DP Josée Deshaies’s lens constantly frames Seydoux’s face in extreme close-ups.

As a fan of period dramas, I enjoy the French’s Belle Époque period and the scene at the doll factory is the most intriguing as it places Gabrielle and Louis at a crossroads and the fire within (as well as literally) engulfs them. The ornate set pieces of that era are contrasted with the austere aesthetics of the future. Props to production designer Katia Wyszkop and costume designer Pauline Jacquard for designing three distinct looks for each period. The 2044 world with its empty streets and people wearing masks reminds me of pandemic times. I’m always fascinated by filmmakers’ vision of the future, but the way things unfold lacks momentum despite some intriguing moments and concepts being presented here.

The most disconcerting storyline is the one set in 2014 where Gabrielle is now an LA fashion model while Louis is an American teen incel who’s constantly making online videos trash-talking girls while complaining that none of them want to sleep with him. Themes of loneliness, failure, fear, existentialism, and obsession permeate the scenes in this period. Most of the ‘action’ takes place in this sprawling LA home where Gabrielle is staying with its state-of-the-art security system.

The sound design is as evocative as it is disquieting. There’s a sense of doom in the air with Louis seemingly planning something terrible. It could very well be a commentary on America’s gun culture given this version of Louis is eerily inspired by the 2014 Isla Vista mass murderer. The beast curiously manifests itself in a blink-and-you-miss-it scene, I didn’t expect to see an actual visualization of the beast as a creature as what constitutes the beast (as in suffocating fear) in one’s life varies from one person to another.

The pacing feels rather laborious and even lethargic at nearly two and a half hours long. The three storylines don’t gel as well as Bonello thinks it is, even when there’s an apparent visual thread involving Gabrielle being filmed on a green screen. A cryptic script can be tantalizing or frustrating, this one is a mix of both. Not sure what to make of Guslagie Malanda (who was astounding in Saint Omer) as a sexy droid, the scene between the two doesn’t seem to have much purpose other than to be provocative. The chemistry between Seydoux and MacKay isn’t the most consistent, though the scene of their intertwined hands is deeply sensuous.

MacKay’s casting seems odd at first but then I read that Bonello had intended the role of Louis for the late Gaspard Ulliel. It’s too bad that we never got to see that as I think Ulliel seems perfect for the role, but props for MacKay for learning French for this film, and on the whole I think he acquits himself well here.

The Beast is a movie I can safely say is not for everyone. It can be an endurance test for some who might struggle to get through this. While there are things to appreciate, in the end, I find this one to be disconcerting and fails to connect in a profound way. Still, it was worth a look just for Seydoux alone who remains watchable no matter which period she’s in.

Have you seen THE BEAST? I’d love to hear what you think!
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