Director Bertrand Bonello’s (Nocturama) adaptation of Henry James’ novella The Beast in the Jungle takes audiences on a journey into a near future where artificial governs existence and human emotions are deemed dangerous. Starring Lea Seydoux (Blue Is the Warmest Colour, Ghost Protocol) and George MacKay (1917), who took over the role after the tragic death of Gaspard Ulliel (Moon Knight), the film explores themes of love, fear, and existential dread against hints of the backdrop of a society grappling with the eradication of emotions.

In this adaptation, Gabrielle (Seydoux) finds herself confronting her past lives to purify her DNA and get rid of her human emotions, which are now considered a menace. So we’re navigating in a world where the line between reality and premonition blurs, the pasts and present are mixed, leaving the audience and the characters – Gabrielle and her great love, Louis (MacKay) – gripped by the fear of an impending doom.

From the outset, Bonello’s vision gradually sets a tone of unease and apprehension. The bits of futuristic setting and the artificial intelligence elements add a layer of complexity to the narrative. However, despite visual hints at a technologically advanced society, the extent of AI’s influence and the threat posed by human emotions remain somewhat ambiguous. If it weren’t for a throwaway line about one character – Malanda’s Poupée Kelly – being some kind of doll or human-like android the AI portion of the film would have been lost in the plot.

Despite all that Seydoux and MacKay deliver compelling performances, capturing the essence of characters haunted by their past and uncertain futures. In most of the past lives, Seydoux’s Gabrielle is the one in turmoil and MacKay’s Louis is steadfast and devoted. MacKay has a fair portion of his dialogues and portrayal in French, which he deftly managed without a dip in the quality of his performance.

For all its visual flair and emotional intensity, The Beast left me questioning its coherence and accessibility. The film seems to rely on the audience’s familiarity with the novella or at the very least the premise. I went into this movie for the two leads and didn’t think I needed to read the premise for a more immersive experience. Bonello’s version is undeniably anxiety-inducing, but the lack of clarity surrounding the societal dynamics and technological advancements hinders full engagement with the movie.

At some point during the film, I wondered “How short is that short story?” because I felt like reading the source material would be the only way to really get that movie. The novella’s themes of fate, regret, and the human condition are present but obscured within the film’s futuristic veneer. Without prior knowledge or context, audiences may find themselves a bit lost, longing for a…clearer? exploration of the narrative’s implications.

In conclusion, Bertrand Bonello’s adaptation of The Beast in the Jungle offers a visually interesting and emotionally charged exploration of love and fear in a dystopian future. While anchored by strong performances and an intriguing premise, the film’s narrative clarity leaves something to be desired, requiring a prior understanding of its source material to fully appreciate the film’s complexities.

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