4 out of 5

Director: Remy Belvaux, Andre Bonzel, Benoit Poelvoorde

Without introduction, the audience is thrust into the world of Ben, a serial killer who is allowing his actions to be documented by a film crew. It is through the “eye” – the camera – of this crew, that everything unfolds for the viewer. And thus, as Ben’s crimes escalate and his documenting crew becomes involved with his killings, the audience is complicit as well. “Man Bites Dog” was criticized for being too obvious with its satire (according to the Criterion liner notes, anyway) and my description above is certainly testament: there’s no remove. There’s no layer, as in “Peeping Tom,” to stand back and question your relation to the film. And in this case, taken as a satire of, perhaps, violence in media, it is obvious. But bearing in mind that this was ’92, way before the reality TV has taken over, and that the film-makers in the movie share the names of the actual filmmakers, then perhaps there is more upon which to reflect. Regardless, this is an affecting, direct movie. I don’t think of watching it often, but when I do, I’m always caught for its entire run. Benoit is a charming killer, self-obsessed, and the subtleties of his personality are what make this work, as well as the frankness with which everything is handled. The fact that its not presented as satire makes the darkly comedic moments even funnier, and then the horrific moments… more polarizing. Punches are not pulled – each viewing I am surprised at the jump in tone when the film-crew starts getting directly involved. It ends sort of pointlessly, because, well, how else can you end it? and, as mentioned, you can go around debating the true “depth” here, but a film that spurs such argument is still worthwhile on many levels. A strange harbinger of where horror and TV would eventually start to wander. Also see “Series 7”.