There was undoubtedly no film that caused quite the same disproportionate signal-to-noise ratio last week as “Only God Forgives,” Nicolas Winding Refn’s return to Cannes after winning Best Director in 2011 for “Drive.” While to us the extremely polarized reaction felt more to do with the perils of unrealistic expectations (“Drive” was a left-field surprise to many in a way that “Only God Forgives” could simply never have been, given Refn’s different profile this time out), there was a difference of opinion among attending Playlisters about the film, though not one separated by such a wide gulf as elsewhere.
With the hubbub of delight/outrage still ringing in our ears, we got to take a few minutes to talk with Refn, the hero/villain of the hour, depending on which side you cleave to, this past weekend, and found the filmmaker on typically outspoken, occasionally loquacious, occasionally abrupt form as he talked about his reaction to the critical response and even dropped a few tantalizing morsels about what’s coming up next.
I don’t think it has affected it. For me, the greatest pleasure is when you make something and everyone argues about it. Because you know it’s the only time that people are actually affected by what they see. So I’ve apparently made a film that people either love it or they hate it. So obviously I’ve reached into your deepest soul [in a move alarmingly reminiscent of a pivotal moment in the film, Refn here leans forward abruptly and points at your intrepid writer’s gut area] and planted something, or else you wouldn’t love it or hate it. And that’s going to stay with you for a very very long time… so that is all you can wish for.
The irony is that the people that are trying to fight it and criticize it, are criticizing it for the exact same thing they criticized “Drive” for! For some reason they just forgot that. So…history repeats itself and everybody forgets!
Is it the violence in the movie that has seemed to attract the most criticism?
It’s hard to say…sometimes people argue about the strangest things. They tend to spend a lot of time on [the violence] and then I think God, you spend so much time on an issue that the film actually has very little of, compared to even television, I must be really really good at what I do! So again, thank you very much.
A colleague has a read on the film in that it’s about an attempt to end the cycle of violence that is the legacy of this one particular family. Does that sound right to you?
It’s definitely very accurate -- but it’s also about that. It’s very important it’s also about that.
And so what else would you consider it to be also?
Well, what do you think?
That’s also true! No no, because the film is designed like that, like going to a museum and watching a painting, a Rembrandt, you’re going to see a thousand different elements within a single frame. Filmmaking is not about what we see it’s a very misconceived notion, it’s about what we don’t see.
Well, that’s an interesting idea because there’s a lot we don’t see and lot we don’t hear and lot that’s not explained in “Only God Forgives.”
Exactly. It’s the same thing. Storytelling is not about what we explain it’s about what we don’t explain. Sound is not about what we hear but about what we don’t hear. Because that’s the only way for you to interact with it, or else you become passive.
But how do you gauge the balance there, and give the audience just enough to work with?
I can only go off my own needs and wants. All my films represent my own needs and wants.