You Were Never Really Here: A Haunting Psychological Thriller
A mesmerizing arthouse psychological thriller unfolds, centering on a hitman who embarks on a perilous mission to rescue a young girl from a pedophile brothel.
Joe (Joaquin Phoenix), a former special forces operative, ekes out a living by extracting children from perilous situations. His methods are brutal and uncompromising, leaving a trail of bodies in his wake. Haunted by post-traumatic stress disorder, Joe grapples with vivid hallucinations and isolates himself, his only connections being his handler, clients, and his elderly mother, with whom he resides. When a high-ranking politician enlists Joe to rescue his kidnapped daughter, Nina (Ekaterina Samsonov), from a pedophile ring, Joe executes the mission with his signature ruthlessness. However, upon discovering his client murdered, the hitman realizes he’s up against adversaries far more dangerous and influential than he initially anticipated.
Deconstructing the Action Trope
Why do action filmmakers often resort to portraying villains as pedophiles and heroes as psychopaths? Typically, it’s a calculated move to amplify the intensity of the action. A morally ambiguous hero is granted carte blanche, while viewers are unlikely to sympathize with child abusers, regardless of the “good guy’s” actions. On the contrary, audiences might find themselves cheering, “Hit harder! Let them suffer!”
Based on the synopsis and trailers, one might assume that Lynne Ramsay, the acclaimed Scottish arthouse director known for the psychological drama “We Need to Talk About Kevin,” has ventured into action-trash territory with “You Were Never Really Here.” However, such a film wouldn’t typically find itself in the main competition of the Cannes Film Festival, nor would it garner awards for its screenplay and lead actor’s performance. “You Were Never Really Here” is far from a typical action film, a fact that becomes evident as soon as the first action sequence unfolds.
Nina is portrayed by New York-born, Russian-descent minor Ekaterina Samsonova. The director chose Katya because many of her American competitors seemed older than their real age.
An Anti-Action Film
Action films revel in violence, glorifying strength, courage, precision, training, and ingenuity. “You Were Never Really Here” takes the opposite approach. The camera deliberately distances itself from violence, and when the protagonist does kill, it’s usually swift and pragmatic, often with a single blow from a hammer. While the film is not devoid of corpses and blood, Ramsay’s artistic goals lie far beyond those of typical action filmmakers.
A Psychological Portrait
Like “We Need to Talk About Kevin,” “You Were Never Really Here” is primarily a psychological portrait, and not a flattering one. Joe is a rough, dangerous, and unkempt individual whose soul has been so deeply scarred by his experiences that he teeters on the brink of madness, contemplating suicide. His only anchor to the world is his responsibility to care for his elderly mother. This is his central paradox – a blend of insensitivity and tenderness. He’s not a born sociopath, but one who has gradually become one, with only a faint ember of his original humanity remaining.
Joe is not alone in his brokenness. He inhabits a world where pedophiles enjoy high-level protection, preying on children in comfortable brothels with armed security. And that’s not the worst of it. Violence is passed down through generations, as seen in Joe’s flashbacks of his abusive father. While he attempts to channel his violent urges for good, the director aims not to glorify Joe, but to horrify viewers with the state of his being and the world around him. We also see that Joe is not the best savior, although quite effective.
A Reflection of Modern Masculinity
“You Were Never Really Here” is not an action film, but a bleak anti-action film. It reflects the global crisis of modern masculinity, characterized by a combination of emotional fragility, extreme violence, and a pathological interest in young girls. Parallels can be drawn to “Taxi Driver,” but the new film is even more brutal than Martin Scorsese’s classic.
The film’s music was composed by Jonny Greenwood, guitarist and keyboardist of the renowned British rock band Radiohead.
To further emphasize the film’s genre, Ramsay intersperses tense moments with lengthy, melancholic scenes in a typical arthouse style, minimizing explanations to ensure that only attentive viewers can fully grasp the plot.
However, the film doesn’t devolve into an art-house ordeal. It boasts a relatively intriguing narrative, an excellent and dynamic soundtrack, and Joaquin Phoenix delivers a powerful and convincing performance as Joe in all his facets, from caring son to sadistic killer. Ramsay showcases her mastery by enhancing the film with unexpected plot details and unconventional camerawork. While the film offers a rewarding experience, it’s tailored for the discerning and engaged “festival” audience.