Movie Review: Disorder (2015)
Alice Winocour’s “Disorder” (original, better title: “Maryland”) is my kind of thriller: drenched in atmosphere and ambiguity. We don’t who the woman is, or how she feels about the hero, or if the hero is even the hero. He could be the villain. We keep guessing. Our minds are engaged.
For most of the movie, we don’t even know what war Vincent (Matthias Schoenaerts, excellent) has returned from (Afghanistan, it turns out), or what’s the matter with him (some form of PTSD), or if he will return to battle (he wants to). When he gets a security gig from fellow soldier Denis (Paul Hamy), we, and he, don’t know who they’re guarding.
Bodyguard or liability?
Imad (Percy Kemp) is rich and powerful, and high-ranking men keep drifting away from the party to talk in private. But none of the tropes of thrillers are engaged. Vincent doesn’t form a special bond with Imad, or his wife, Jessie (Diane Kruger), whom he, and we, notice at the party, wearing a backless dress. It’s Diane Kruger after all. It’s wow. Does her beauty distract him from doing his job? Does his PTSD? His ears keep ringing; he keeps putting cold water on the back of his neck. For most of the movie, Schoenaerts feels like a mass of coiled, helpless anger. He’s the guard who needs guarding.
At the gate, for example, filling in for Denis, he stops a guest trying to enter: someone not on the list, who, after impatiently getting clearance, calls Vincent a moron and flips him off. When Denis returns, Vincent immediately searches for this guy, and finds him in the middle of an argument in an upstairs room with Imad. When the guest rises, threateningly, Vincent enters the room asking if he’s needed. He isn’t, but Imad wants him close by. Is this our bonding moment? No. Imad simply wants to know how much Vincent has heard. Nothing, he says, but we don’t know whether to believe him. More, we don’t know if Vincent pursued the man because he was suspicious of him or just pissed off. Was he looking to protect or to fight?
There’s been a lot of buzz over the last few years, particularly in the U.S., about the need for women directors and writers: women-created stories. Is this a good example of that? A perspective of men that women in particular are good at portraying? Our unknowability, our silences; the strength that might protect or hurt.
The next morning Denis asks Vincent if he’d like to stick around to guard the wife for a few days. Why Vincent? The Hollywood trope would be because he’s “the best,” or because Imad (or, better, Jessie) asked for him specifically, seeing something specialin him. Here it’s because Denis knows he needs the gig—he might not be returning to the war. So it’s out of a kind of pity. Or maybe Vincent is being set up? Why does Jessie and her son, Ali (Zaid Errougui-Demonsant), need guarding anyway?
On the way to the beach, in a traffic jam, Vincent guns the engine and veers into oncoming traffic to avoid, he says, someone following them. Is this the bodyguard or the PTSD talking? At the beach, she’s still angry with him, and he drifts, and then wanders. What is he seeing? Something real? At this point, he feels like a liability.
Until the attack in the parking lot—and even then it’s not handled with Jason Bourne-style efficiency. It’s messy, as it should be, and afterwards the police are more interested in who they are rather than who their attackers were.
Imad, it turns out, is an arms dealer, he's been arrested at the Swiss border, and his empire crumbles swiftly. The estate, called Maryland, which was the setting of a glamorous party just a few days earlier, quickly becomes abandoned: by servants, friends, cops. Vincent stays. Does Jessie have somewhere she can go? Not really. A friend in Canada, she says. Are people still trying to attack her? Why? Denis is called in as backup. Can he be trusted?
That’s what I loved about this movie—the constant questioning against a genuinely thrilling backdrop. It’s a star movie—Schoenaerts and Kruger shine. There’s an early scene, where Vincent is riding a bus, lost in thought, then wakes up and realizes where he is—past his stop. Just that, but Schoenaerts does it so well. He’s the real deal. If we didn’t already know that from “Bullhead,” “Rust and Bone” and “The Drop.”
Lady or tiger?
The ending is ambiguous, too: a kind of lady-or-the-tiger ending.
In the final assault—and we never find out who’s assaulting the home, or why—Vincent lives up to the job description: He saves Jessie, Ali, even Denis. But he can’t stop. He slams an attacker's head against an unbreakable glass table until it’s basically mush. Jessie sees this, and he sees she sees. He had planned on going with them all the way to Canada (to protect, to be husband and father?) but here seems to realize it wouldn't work. He’s gruff with the boy, charmless with Jessie. He’s only needed when things go wrong. He asks Denis to take them to the airport.
But then Jessie returns, puts her arms around him, says his name. Screen goes dark. Directed by.
It’s the tiger. To me, the embrace is in his mind. More, it’s his raison d’etre, the reason he’s done all of this. For her. As if we didn’t know that already. I mean, just look at her.