Constantly on the hunt and suffering from hallucinations that drive his violent nature, an unnamed man is capturing women and savagely beating them to death. Meanwhile, a woman is luring men into a violent end, by way of her knife. Driven by the same force to make the opposite sex suffer, the killers’ fates intertwine. The two must face off in a battle to the death, in which they are forced to reveal the horrible truth behind their addiction to murder.
“Brutal” takes an interesting approach to its visuals, drawing heavy influence from Western “Grindhouse” films, using a filter to make the footage appear grainy, damaged, and with light and color fluctuations. Unfortunately, the visual styling ends up feeling misguided, as other than applying the filter it does not imitate any other aspects of the “Grindhouse” genre. Despite trying to dirty up the film, it is apparent it was shot on digital. The cinematography is also a step above most “Grindhouse” productions, with Takashi Hirose proving he has talent behind the camera. Exterior shots to those taking place in small spaces are all competently framed, lit, and transition well. The decision to add an effect on top of the work hurts the film’s imagery and even gives a sense of desperation to try to capture a certain type of nostalgia with the audience, instead of relying on its own strengths. It is unfortunate when one creative choice can hurt a production so much.
The story of “Brutal” is simple but effective, it does attempt some sort of social commentary about the violent nature of men and women, but it does not offer enough depth into the subject to justify the amount of violence on display. The film does end on a strong note with an interesting twist, with a reveal that is bound to gross some out, while giving others a chuckle. In spite of its simple nature, those who enjoy films that make them somewhat uncomfortable and enjoy the challenge of getting through some ultra-violence, “Brutal” poses a fun and entertaining challenge in that regard.
分数：55
为了讥讽素食主义，无厘头的故事令人很难入戏。
1 恐怖片拍出了点喜剧片的感觉；2 人肉类道具做的挺好的，很有质感；3 结构不错，一是纪录片和现实互相关联，二是还埋伏着情感线，夫妻情，与贱夫妇的交往等的情感变化都玩的相当不错。推荐吧，难得有趣的恐怖片。
整体路子还是比较正，血腥程度不高，也不是特别野，但是杀素食者实在是大快人心，我也想尝尝那些素食者的肉
法国导演拍的恐怖片，一点也不恐怖呢，还挺幽默挺sunshine的。
还是法国人敢拍，这片在美国的政治环境下绝对拍不出来。对极端素食主义者的批判很犀利，还顺便把资本家、执法者、媒体和普通群众都黑了一把。作为一个间歇性吃素以修身养性者，看得很欢乐，并不觉得被冒犯。文化自由不就是这样吗？得让人敢说话。
很适合周末的爆米花电影，再次提醒我们做事一定要细节。所以伊朗猪肉到底啥味道？
鸭梨觉得很搞笑，我感觉没有人肉叉烧包过瘾啊
他老婆pua他，
想看原著。向男演员奥利弗•马苏奇致敬，惊叹他的表演！
最后的茨威格，最后的奥地利，最后的美好年代知识分子的凋零怀旧。
法国电影的奇特之处是能把所有题材拍成喜剧。最可笑的是这部电影没有在国内被禁，哈哈，也许真的禁了的话所有人就都知道它为什么被禁了吧，李佳琪的蛋糕笑话是最近听到的最好笑的笑话。
黑色幽默啊啊啊啊，哈哈哈，黄秋生，哈哈哈哈
“学学黄秋生吧”，多看看cult film，影视教学。
没看过原著，在边界内寻求自由的能力和意志，还是感受得到
就是一开始有点重口味，毕竟没有想到有那么大的尺度，小小的揪心了一下。
PPPS:他们看的那个节目叫啥？
像数次出现的《奥德赛》的词句，海上历险与倒叙。被强调的元素都与梦魇相连，房间壁纸的船与海，钨丝灯，书中的人物像，和象棋。下赢这盘棋，从米尔科手中、也从大都会酒店前台拿回手表。对纳粹有用的一个奥地利犹太人，非神志丧失而不能赢，时代死局。耀眼阳光只是幻觉。
也就法国人能把恐怖和喜剧，甚至爱情元素 融合成这样一部爽片了。
没读过茨威格的原著，看完有点懵逼，于是补了一些相关内容，于是给了4星。
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