Karim Ouelhaj’s fourth feature film “Megalomaniac” is about to have its world premiere on Fantasia, sold to Youngjin Creative in South Korea, STS Ent in Japan, Encripta in Latin America and Indeed Film in the German-speaking world. I am dealing with Media Move is responsible for global sales and XYZ is responsible for North America.
Ouelhaj is also about to put together the principal photography for his new feature ‘Le Pont des Fiévreux’. Described by producer Florence Sadie as a “horror-tinged, fantastic thriller,” it follows the journey of antihero Skola lost between madness and purgatory. The structure of the film was inspired by the 1990 release of Jacob’s Ladder.
“This is the craziest film I’ve ever made,” teased Helmer of Belgium, who also goes insane in Megalomaniac, produced by Okayss and Les Films du Carré.1996 to 1997 Inspired by the grisly true story of the “Mons Killer” who murdered five women over the course of a year. he was never arrested.
Although the case continues to attract interest, Welhaj decided against the procedural shooting as multiple people have been named as possible suspects.
“We didn’t have the budget to show the investigation, but it could have worked. This way, I really had to focus on the killer’s point of view,” he says. variety.
“There are a lot of movies about criminals and their hunters. Fincher has already done it with ‘Seven’ and ‘Zodiac’ and I don’t think he could have done a better job.”
Instead, he emphasizes the film’s cycle of evil, as the butcher’s brutal behavior affects two children. Daughter couldn’t stop him.
“Starting with Martha’s violent birth, witnessed by Felix, and the effect it has on the two of them, shows that children imitate us,” says Welhaj.
“Not trying to make excuses for Felix, but unless confronted, the cycle of evil continues unabated. It was important here to talk about family heritage. ‘Can’t wash it off. “
As with Felix’s victims, most films have the two characters trapped inside their homes, so Welhaj wanted to show their loneliness and their inability to escape their dark legacy. But waiting for them outside is Martha, played by Eline Schumacher, who finds out how taunting can quickly turn into abuse, which isn’t always a good thing.
“Erin was very interested in her character and brought an unexpected depth to it. [to her performance]She quickly picked up on Martha’s passive, childlike side. We saw Kathy Bates’ work in ‘Misery’ and she quickly ‘digested’ it and found her own interpretation,” noted Werhaj, describing Schumacher as “an extraordinary called an actress.
Martha could be seen as “a victim of patriarchy,” but plunged into her brother’s twisted universe to survive, and at one point she decided to act. Yet, even though the film’s social context is prominent throughout the story, “Megalomaniac” continues to bounce back and forth between reality and fiction until its explosive finale.
“Genre films allow audiences to accept realities that would otherwise be difficult to face. We need something else,” Welhaj adds.
“Ultimately, I think the film is more about tension than violence. When it comes to violence, especially against women, we have to take responsibility [as filmmakers]But I think we need to show it so we don’t forget it. “
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