Hors Satan

The Observer“Dumont's sixth film and perhaps his most compelling...” The dialogue is minimal, there is no music, and everything on the soundtrack was recorded simultaneously with the images, including, so Dumont claims, the noise from the tracks of the camera dolly...

Radio Times“Makes no narrative or stylistic concessions...” Offers few clues as to the message (if any) he is striving to convey. But this approach forces viewers to engage with the consciously sketchy characters and Yves Cape's bleak imagery in order to derive their own meaning...

Financial Times“Seems completely mad: a wind-torn, lyrical, savage, gnomic doodle...” As an artist Dumont was under tighter self-control in his best film to date, Flanders. Even so, to paraphrase Shakespeare, madness in gifted ones, or eccentricity at once errant and forthright, must not unwatched go...

Time Out film“Questions are asked, but answers are your department...” The result is mesmerising, beatific, disturbing, and leaves us pondering our own beliefs in a way few films do...

Little White Lies“Dumont's most poetically and spiritually opaque film to date...” if you’re interested in tackling questions pertaining to a higher power which are articulated in near-abstract terms, then you could do a lot worse than choose to worship at the altar of Dumont...

Total Film “His enigmatic allegory of intertwined good and evil does linger...” Could notoriously difficult French auteur Bruno Dumont (L’humanité) be courting the mainstream with a lovers-on-the-run thriller? Nope...

Empire“A typically stark provocation...” Occasionally pretentious, but also perplexing and compelling...

The Telegraph“Elicits the unease which passeth all understanding...” A savoury piece of slow cinema; a supernatural tale cooked so long and low that the meat falls away from the bone...

The Independent“In narrative terms it feels pretty starved...” Bruno Dumont, a safe bet for France's most enigmatic auteur, here presents another inscrutable allegory of rural life...

Guardian“The visionary, radioactive glow is compelling...” Looks eerily and untameably beautiful, like Weisman's humanless world, but with a group of humans transplanted back into it, aeons later, as if in some sci-fi experiment. Bruno Dumont's film-making is just so fluent, unnerving, gripping...