‘Sacrifice’ Review: Gavras’ Eco-Satire Surprises With Emotional Depth – Toronto Film Festival

For a book that is not widely known or read, James George Frazer’sThe Golden Bough (1890) has had quitean effect on cult cinema, especially during the 1970s. For reasons that would take too long to explain here – and due to its impact on Joseph Campbell’s 1949 bookThe Man with a Thousand Faces– it appears that Frazer’s non-fiction exploration of religion, mythology, folk stories, and the eventual move towards science has subsequently influenced films that seem to be very different from one another as – it turns out that Frazer’s factual examination of religion, myths, folklore, and the later shift towards science has since impacted movies that appear to be quite unrelated – it is revealed that Frazer’s non-fiction study of religion, mythology, folktales, and the following progression toward science has since influenced films that seem to be on opposite ends of the spectrum – it comes to light that Frazer’s factual analysis of religion, mythology, folk stories, and the subsequent path to science has since affected films that seem to be completely different from each other – it becomes clear that Frazer’s non-fiction research into religion, mythology, folk tales, and the later journey into science has since shaped films that seem to be vastly different from one anotherThe Wicker Man, the very first Star Wars, and Apocalypse Now. Well, you wouldn’t necessarily ever show those three movies together, but, once you watch it, thereisa specific overlap, primarily in the idea of the unsuspecting hero, a person selected by destiny, and not always for the best.

With that in mind, the Greek-French director Romain Gavras’sSacrifice, his debut in English, arrives at a particularly intriguing moment in the world’s history. While appearing as a straightforward comedy (in a way), it is a film that, through its main character, raises inquiries about the pursuit ofactualbravery amidst the haze of superficial representation.

The character is Mike Tyler (Chris Evans), a Hollywood actor dealing with a recent mental health crisis, who is at an overly extravagant eco-conscious charity event for the extremely wealthy, taking place in a remarkably minimalist Greek mine. Tyler is unsure about being there and doubts the intentions of others, expressing his skepticism by publicly criticizing the event’s main guest, environmental billionaire Ben Bracken (Vincent Cassel), during a live video stream. He accuses Bracken of being hypocritical, pointing out that while he opposes fossil fuel mining, he is willing to use the sea for energy.

To go back, Gavras’ film is a peculiar case in this regard, as, although it has a comedic surface, its purpose is genuinely serious, and that’s where it begins. Before we meet Tyler, we see Joan (Anya Taylor-Joy) directing the intense funeral of her own mother (who, disturbingly, may not actually be dead yet). Joan leads what appears to be a teenage militia fromThe Town of the Damned(1960 or 1995, your choice), and she’s on a mission. “The old way needs to be reduced to ashes,” she states, receiving instructions from a nearby volcano. This is what leads her, along with her two brothers, to attack the event and seize the guests – while Tyler is in the restroom, nursing his injuries after his mic drop moment becomes wildly popular online.

The event itself is as awkward as one would anticipate, with the approaching climate disaster conveyed to the audience flying in private jets through – what else? – an interpretive dance competition and a neon sign reading “MAKE EARTH COOL AGAIN.” In fact, it’s so over-the-top that it takes some time for the attendees to understand that Joan and her group are not part of the performance; it’s only when the blood begins to spill that they realize she is genuine. At that moment, Tyler re-enters the room and is handed over by the frightened crowd (and, more importantly, blessed by Joan) as one of three individuals – along with Bracken and one of the show’s dancers – who must carry out the film’s central sacrifice to prevent the world from facing an immediate disaster.

As a captive, Tyler develops Stockholm Syndrome early, viewing everything as student pranks (“No justice, no peace,” he shouts to the press), which greatly irritates Bracken, who claims he is supporting what he refers to as “Green Isis.” However, the balance between humor and serious moments shifts dramatically when Joan takes her captives on their trip, resulting in a growing connection with Tyler and numerous surprising insights into Joan’s past.

You may believe you have a sense of where everything is headed, and the script does touch on many of these elements, most of them related to the egos and influence of movie stars in the real world. ButSacrificeis intriguing, not merely because it dares to take chances even within its own boundariessui generisgenre (note to self: is sci-fi folk horror a real category yet?) but because it’s actually quite straightforward in its approach: What defines a sacrifice in modern times?

As Tyler, Evans carries the film remarkably well, considering the twists and shifts (both in plot and mood) that lie ahead, while the deadpan Taylor-Joy, at her most serious (and convincingly portraying a much younger age than she is), serves as an excellent counterbalance. To add even more enjoyment, John Malkovich appears briefly as what seems to be the voice of logic.

In a nutshell, it’s crazy, and not suitable for all. ButSacrificehas a message, and it revolves around the ouroboros – the endless self-consuming serpent – which represents the world’s performative response to climate change. It takes a direction that may surprise you, and the emotional impact could potentially endure longer than the humor.

Title: Sacrifice

Festival: Toronto (Special Presentations)

Director: Romain Gavras

Screenwriter: Will Arbery, Romain Gavras

Cast:Chris Evans, Anya Taylor-Joy, Vincent Cassel, Salma Hayek Pinault, John Malkovich, Ambika Mod, Charli xcx, and Jonatan “Yung Lean” Leandoer

Sales agent: Rocket Science

Running time: 1 hr 43 mins