Maryland (or Disorder as I saw it) is a finely made, intriguing film ... with half a story. Director and co - writer Alice Winocour, creates the vehicle to deliver a compelling mystery involving Vincent (Matthias Schoenaerts), an ex-soldier suffering from post-traumatic stress disorder (PTSD). Through an old army buddy Denis, he is hired to protect the wife (Diane Kruger) of a wealthy businessman while he's out of town, at their luxurious villa, Maryland, on the French Riviera. Events follow which suggest a web of conspiracy, possibly involving the police, that may well draw Vincent and his charges into mortal danger.
Disorder is deliberately filmed through the cloudy perspective of an (at least) sometimes, confused Vincent, who has little understanding of why actions are being played out as they are. His number one priority is to keep Jessie (Diane Kruger) and her son Ali, alive. It's not really a spoiler to say that he succeeds in his primary task. But just when we think we may get some expositive pay - off for following the story through to the home invasive third act, the movie ends with an ambiguous suggestion that Vincent may have been imagining things. One can't help harking back to Antonioni's equally mysterious, but less violent set - up in Blow - up.
This is not to say that Disorder reaches the lofty, universally high regard of Blow - up. It doesn't. But it is very well made with a wonderful electronically percussive soundtrack provided by Gesaffelstein. Considering the protagonist's frequent mental issues, the constant hand - held camera work, whilst at times over - bearing, is the logical approach to take in the circumstances. Schoenaerts and Kruger are terrific in the lead roles, with Schoenaerts just about doing the near impossible, in establishing his character, as an anguished brute of a man, who still has a tenuous hold on his humanity.
It's just really quite disappointing then, that in the end, Winocour, seemingly couldn't be bothered fashioning nothing more than an extremely lacklustre conclusion. Disorder requires greater narrative finesse and true motive. It takes the time to establish our interest, only to reveal the investment in anything that's happened isn't very high.
Disorder is deliberately filmed through the cloudy perspective of an (at least) sometimes, confused Vincent, who has little understanding of why actions are being played out as they are. His number one priority is to keep Jessie (Diane Kruger) and her son Ali, alive. It's not really a spoiler to say that he succeeds in his primary task. But just when we think we may get some expositive pay - off for following the story through to the home invasive third act, the movie ends with an ambiguous suggestion that Vincent may have been imagining things. One can't help harking back to Antonioni's equally mysterious, but less violent set - up in Blow - up.
This is not to say that Disorder reaches the lofty, universally high regard of Blow - up. It doesn't. But it is very well made with a wonderful electronically percussive soundtrack provided by Gesaffelstein. Considering the protagonist's frequent mental issues, the constant hand - held camera work, whilst at times over - bearing, is the logical approach to take in the circumstances. Schoenaerts and Kruger are terrific in the lead roles, with Schoenaerts just about doing the near impossible, in establishing his character, as an anguished brute of a man, who still has a tenuous hold on his humanity.
It's just really quite disappointing then, that in the end, Winocour, seemingly couldn't be bothered fashioning nothing more than an extremely lacklustre conclusion. Disorder requires greater narrative finesse and true motive. It takes the time to establish our interest, only to reveal the investment in anything that's happened isn't very high.