Occidental

Occidental, a nuanced comedy-drama from 2017, is a gripping exploration of societal prejudices and cultural tensions through a tale that revolves around a small hotel in Paris. French director Neïl Beloufa displays an uncanny expertise in layering multiple dimensions of social context within a basic narrative structure, creating a rich cinematic experience.

The plot positions the charismatic duo of Giorgio and Antonio, vividly portrayed by actors Anna Ivacheff and Paul Hamy, at the centre. They are flamboyant, hyper-stylized Italian newlyweds who arrive at the exuberant Hotel Occidental situated in the heart of Paris. This seemingly simple premise depicts the increasing tension that develops as the pair find themselves tagged as likely threats by the hotel staff and its guests. Idir Chender brings alive the character of Khaled, the hotel manager, brilliantly capturing the paranoia and prejudice that sets the narrative wheel into motion.

What begins as strange coincidences and minor misunderstandings rapidly snowball into more severe accusations as the other hotel occupants and the staff become overtly suspicious of the couple's intentions. This dramatic plot skilfully conceals a biting commentary on xenophobia that is revealing of modern society's fears and biases.

Beloufa cleverly employs metaphors and aesthetics that allow the viewers to subconsciously interpret the underlying matter of the film - from the colorful yet confining hotel interiors reflecting societal constraints, to the looming rain outside portraying the impending doom. Furthermore, the enigmatic characters and captivating dialogue prevent the film from becoming pedantic, maintaining a palpable air of suspense and intrigue throughout the narrative.

Occidental does not conform merely to the constraints of an art-house film; instead, it brilliantly traverses across the boundaries of various film genres, including thriller, drama, and comedy. The narrative tension is carefully balanced with moments of comedic relief intertwined with the subplot. With a suggestion of a potential riot outside the hotel that reflects France’s political climate, the humor sits just on the edge of discomfort, hinting at deeper social issues.

Interestingly, the feature builds most of its narrative with limited mobility in a confined space, forcing the audience to contemplate and rely upon minor indications and implications. The story plays out primarily within the walls of the hotel, giving a sense of isolation from the world outside, thereby adding to the thickening plot and oozing tension present throughout the film. This unique narrative style makes Occidental a captivating watch from start to finish.

Technically, the film is a feat as well. The performances from the lead actors are commendably distinctive and compelling. Anna Ivacheff’s portrayal of Antonio brims with a theatrical flamboyance that is a perfect foil to Paul Hamy's portrayal of the relatively quiet Giorgio. The rest of the cast complements the leads, with their performances further contributing to the charm of the film.

The production design is equally impressive, creating an intriguing juxtaposition of a vintage feel with a distinctly modern twist. The constrained setting is rendered intriguingly appealing with its vibrant color scheme and eclectic decor. Beloufa's film thrives in its idiosyncrasies, crafting dramatic tensions within visually vibrant frames. The evocative score and sound design combine elegantly with the striking visual palette, creating an immersive atmosphere further heightening the viewer's experience.

In conclusion, Occidental is not just a movie but a social discourse that subtly critiques the tendencies to judge based on stereotypes, bias, and prejudice. It's a film that keeps its viewers on their toes by straddling multiple genres, constantly surprising and revealing its themes with a sharp wit and a deceptively whimsical touch. The intangible tension and pulsating rhythm that drives the entirety of the narrative make Occidental a critically engaging watch, making its audience question their own prejudices and unravel their ignorance. As such, Neïl Beloufa's brilliant comedy-drama is certainly unmissable for lovers of thought-provoking, genre-blending cinema.