Coming on the heels of the spellbinding backwoods horror flick Calvaire, Belgian filmmaker Fabrice Du Welz's Vinyan is an incredibly intense and, sadly, obtuse third-world metaphysical thriller that is bound to disappoint less discriminating viewers. Maybe even discriminating ones.
Ostensibly a mash-up of tsunami-inspired tragedy and Lord of the Flies-styled allegory, Vinyan opens with an Anglo couple, Paul (Rufus Sewell) and Jeanne (Emmanuelle Béart), living on the Thai coast and trying to get on with their lives six months after the tsunami swept their little boy away. Attending an art opening, they see a grainy film of Burmese children left to fend for themselves in abandoned jungle outposts and Jeanne sees her son among them. While the image is never clear (the child is hobbling away from the camera), Jeanne is convinced and immediately plunges into the Bangkok night, a riot of neon and prostitution, to find a human smuggler who can take her to where the film was shot. Led by Thaksin Gao (played by the affable and afroed Petch Osathanugrah), Paul and Jeanne sail into war -torn Burma to find the "white child" in the country's fog, mud, and forest. Of course, that's when things get bizarre, and the film spins out leisurely towards a mind-boggling conclusion.
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