Are connections truly fated, completely chosen, or purely circumstantial? The slow tragedy of Henry James’ The Beast in the Jungle hangs entirely on the question, which captivated readers and filmmakers with the concept, including Bertrand Bonello, which forms the foundations of 2023’s The Beast. Bonello lets loose The Beast in the Jungle into an AI playbox of time and space and destiny, transforming the simple examination of human life into a sci-fi epic, a moving period romance, and an existential mystery all at once. It can occasionally feel a bit jumbled up at times, with the way Bonello jumps across lives, but Léa Seydoux and George MacKay hold everything together with their performance, making La Bête deeply striking, if a bit derivative.
"It’s a big swing for the fences from the singular French filmmaker and one that absolutely pays off."
— Hannah Strong
"It overflows with intriguing ideas, even if they aren’t all fully explored."
— Alison Willmore
In the near future where emotions have become a threat, Gabrielle finally decides to purify her DNA in a machine that will immerse her in her past lives and rid her of any strong feelings. She then meets Louis and feels a powerful connection, as if she had known him forever.
2044. Hoping to eliminate the pain caused by her past-life romances, Gabrielle finally decides to purify her DNA in a machine that gets rid of emotions and gets rid of her relationship with various incarnations of Louis.
Bertrand Bonello’s direction. The pacing may be a tad slow to be truly existentially terrifying, but something about the disorienting approach matches the angst of the original novel’s loneliness.
Henry James’ The Beast in the Jungle meets Cloud Atlas meets Equals meets Eternal Sunshine of the Spotless Mind.
