13 (Tzameti)

by Ari

Analyzing a thriller dependent on shock value and surprise is a disservice to the film, especially if its shock value and surprise is particularly suspenseful and tense. 13 (Tzameti) contains some of the most intense sequences of realistic horror seen in quite some time, a bleak, disturbing, and uncompromising threat which captivates while unsettling. You as the audience are placed in the center of a horrible situation in which the characters have no options and no exit, just a nervous desperation of luckily surviving the odds. Writer-director Gela Babluani presents madness and immorality with his twisted and cold look at characters trapped in the most nightmarish of places. This isn’t exactly the most pleasant cinematic experience you can have in theaters right now, but it’s certainly one of the most unique and compelling.

The crisp black and white photography and foreboding score immediately create an eerie sense of danger at the outset of the film. The style evokes the new-wave and avant-garde sensibilities Babluani has taken inspiration from, sometimes a bit too obviously. Almost every character is dressed in long black coats and smokes cigarettes, a stylistic choice that does nothing more than call attention to itself. It’s a slightly amateurish way of telling the audience that these people mean serious, serious business. Or that they’re dangerous. Or cool. This is Babluani’s debut feature, and his inexperience is evident. The first half slowly moves along, spending time with irrelevant conversations and characters that are completely dismissed once the true nature of the story reveals itself. 13 (Tzameti) is only 84 minutes, and the first-half seems purposely stretched to meet feature-length requirements. It’s not completely botched, since Babluani does create an intriguing mystery that leads to the unexpected.

Sebastien (George Babluani) is a young man who lives with his family, earning low wages repairing roofs, and just barely surviving. His employer is a heroin abusing and depressed middle-aged man who seems to be involved with a strange and secret business. He eagerly anticipates a letter that contains valuable information and a ticket to an unknown destination - a destination where a huge profit is to be collected. As Sebastien works on his house, he overhears conversations about how important the letter is from a few different (and pointless) characters interested in its worth. Undercover police surround the house, taking pictures and following leads. Babluani does a relatively effective job at raising the stakes without ever revealing what exactly is happening. Once the employer commits suicide, Sebastien steals the letter, taking is place in hopes of attaining wealth. Unfortunately for Sebastien, he has absolutely no idea where his train ticket leads or how the money is to be earned.

When he arrives at his destination, Gela Babluani displays real directorial talent. Sebastain is forced into a horror show held for the satisfaction of upper-class gamblers who bet on a perverse and repulsive game of death. While the first-half focused on establishing a mysterious tone with its story devices, photography, and score, the second-half is centered on raw emotion and ferocious (but not gory, to my surprise) violence. This is where Babluani demonstrates a natural talent in building suspense. Watching young Sebastien and other characters participate in acts of cruelty and malice is extremely uneasy, and the tension only escalates as the game progresses. As I’ve already mentioned, discussing this only spoils the experience. Not the most complex of thrillers, I actually found it odd that Babluani didn’t insert a stronger satirical edge to his material. Underlining themes work their way into the story, but the experience is lacking that piercing thematic element that could’ve added something deeper and more challenging. It’s a successful exercise in suspense, but nothing more.

The performances are tremendous. George Babluani is excellent as the trapped and horrified lead, and actor Aurélien Recoing (so good in Time Out) is intimidating and dangerous as a character referred to as Number 6. While not the most developed of characters, you still invest in their struggle to survive. Even with strong photography and editing, you need actors brave enough for the material, and the performances are what really make the tension last. The “duel” is perhaps the most intense sequence of the film thanks to quality work by the actors involved.

13 (Tzameti) is a solid debut by a filmmaker with an undeniable ability for the dark and disturbing.