Isabelle Huppert

Patrice Chéreau

Brigitte Roüan

Daniel Duval

Béatrice Dalle

Anaïs Demoustier

Olivier Gourmet

Maurice Bénichou

Luminița Gheorghiu

Rona Hartner

Hakim Taleb

Lucas Biscombe

Serge Riaboukine

Maryline Even

Florence Loiret Caille

Branko Samarovski

Thierry van Werveke

Michael Haneke

Jürgen Jürges

Michael Weber

Margaret Ménégoz

Markus Schleinzer

Michael Katz

Nadine Muse

Veit Heiduschka

James David Goldmark

Lisy Christl

Christoph Kanter

Monika Willi

Elzbieta Bumbul

Claus Lulla

Pascal Chauvin

Guillaume Sciama

Stéphane Malheu

Éric Grattepain

Nikolaj Espinosa Bach

Waldemar Pokromski

Thi-Loan Nguyen

Jean-Pierre Laforce

Olivier Dô Hùu

Ellen Just-Hofmann

Peter Ecker

Drama

Le temps du loup

Les Films du Losange

Wega Film

Bavaria Film

France 3 Cinéma

ARTE France Cinéma

ARTE

France

Austria

Germany

CinemaSerf

To be honest, I was expecting something just a bit more substantial from auteur Michael Haneke as he takes a distinctly French approach to apocalyptic drama. Suffice to say that the human economy and infrastructure have largely collapsed and the land is being run by lawless individuals - some violent and exploitative, others just fighting for their own survival and it’s that latter category that “Georges” (Daniel Duval), wife “Anne” (Isabelle Huppert) and their kids “Eva” (Anaïs Demoustier) and “Ben” (Lucas Biscombe) find themselves. For a reason that isn’t exactly clear, they have left their home in the city to come to their remote cabin - only to find it has a new set of squatters who murderously thin out the father from the family and send the others packing with nothing but the clothes they stand up in. Over the course of the next couple of hours we see them struggle to stay alive as they encounter others in similar predicaments across this rural community where many are scavenging whilst waiting for a train. Where to? Will it come? Will they all manage to survive long enough to find out? Will they even get on it if it does? I had two problems with this film, really. Firstly - far too much of it is shot in the pitch black. That does, to an extent, add a degree of menace for a while but as more and more of the pivotal action seems to happen at night, I found it harder and harder to follow who was doing what, or stealing what, from whom. Then there’s the constant childish screaming. Authentic and plausible, no doubt - but under the fingernail grating after half an hour as the children insist on doing their own thing and causing a predictable degree of ensuing chaos. Huppert does enough, as does Hakim Taleb as the resourceful urchin who has his head very much more screwed on that most and there are a fair degree of scenes that might make you squirm as modern day morals and scruples are thrown to the (metaphorical) wolves. Sadly, this isn’t particularly innovative nor are any of those folks really worth bothering about as we see the more manipulative and venal aspects of human society in the ascendency and I found I really wasn’t too interested in whether they survived or not. More wattage next time, please, Michael. I’m not a mole.

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