Released in 2015, Disorder tells the story of Vincent, an ex-soldier suffering with PTSD who becomes a security guard for a millionaire and his wife. The film was in French, with English subtitles. I was thankful for these, for my GCSE level of understanding Frenchs stretches as far as introducing myself and asking for a sandwich. Though there were subtitles, I soon noticed that I wasn’t even reading them; instead I was still following the action by simply watching the picture. The plot itself was fairly simple. It was the slow burning tension that made the film enjoyable to watch. A lot of the film was empty, quiet and brooding, with the electronic soundtrack creating an unsettled atmosphere.
However, what sold the film for me was Matthias Schoenaerts. I felt that, because I speak no French, I was watching the film more like a silent movie, and this was what allowed me to notice his fantastic performance as a paranoid veteran. Just as Charlie Chaplin made the world fall in love with his Tramp character, so too did I feel for Vincent. His eyes looked constantly tired, and his movements were calculated but cautious. Often, cut in shots would reveal his shaking hands and darting eyes, and this all adds to creating a very tense character.
Because film is a visual art, performance is crucial in selling it. The dialogue could be appallingly written, but if it is said with enough conviction, then I could still enjoy it. For me, this is where films such as the Transformers franchise fail; the actors do not manage to sell the unbelievable premise of giant car-robots. I don’t believe that Megan Fox and Shia LeBeouf are chatting with a massive space lorry, therefore I don’t enjoy the movie. No matter how well a film is made, ultimately, if the performance is wrong then I won’t be sold on the film.
Daniel Robinson: From Reel to Real 