Disorder is a pulsing, sexy thriller that’s partly about PTSD, and partly about the murky, elusive nature of current geopolitical conflict. Matthias Schoenaerts, who at this point should be certified as a genuine movie star, plays Vincent, a French military man who may not be able to go back to active duty due to his war-induced mental anguish. Back home in the Côte d’Azur, he and some of his army buddies make money in private security, hired to watch over a lavish party at the villa of a Lebanese businessman, Whalid (Percy Kemp). There Vincent glimpses the businessman’s wife, Jessie (Diane Kruger), and though he remains mostly stoic throughout, Vincent is clearly drawn to her.

Poster image for Disorder (a.k.a. Maryland)After the party, Whalid has to travel to Switzerland to conduct some shadowy business, and so Vincent is hired to stay on for the weekend to play bodyguard and chauffeur to Jessie and her son, Ali (Zaïd Errougui-Demonsant). Paranoid and suffering from panic attacks, Vincent is not really the best guy for this job, but he stays on, because he needs the money, and because he’s drawn to Jessie, feels a powerful protectiveness over her. Is this family in any danger, or is Vincent just losing it? That’s initially unclear, the film filling this lavish villa with a tingly air of uncertainty.

While the premise of Disorder seems to suggest a Euro version of The Bodyguard, the film quickly proves itself subtler than that. Director Alice Winocour creates several scenes of unnerving suspense, coiling the film’s tension stylishly and quietly. Schoenaerts is great at playing tough and haunted, and he cuts a mesmerizing, almost menacing figure here. He and Kruger share a nice, antagonistic chemistry, adding faint hints of sweetness to an otherwise coolly creepy movie.

– Richard Lawson, Vanity Fair

Trois ans après Augustine, film qui explorait la paranoïa féminine avec Soko et Vincent Lindon, la jeune et talentueuse réalisatrice Alice Winocour s’attaque à la paranoïa masculine. Vincent (Matthias Schoenaerts) est un soldat traumatisé. Ses tympans ultra-sensibles sifflent au moindre bruit, sa vue se trouble, il est victime d’hallucinations. Les médecins de l’armée s’opposent à son retour immédiat sur le terrain. En attendant, ce grand gaillard, qui a encore sa chambre chez sa mère, accepte un job de garde du corps. Sa mission ? Assurer la sécurité de Jessie (Diane Kruger) et de son fils à Maryland.

Cette immense villa sur la Côte d’Azur va devenir, l’espace d’une nuit, son champ de bataille. Les nombreuses pièces en enfilade, les escaliers et les fenêtres, les angles morts que les caméras de surveillance ignorent représentent des pièges que Vincent doit déjouer. Les ennemis sont-ils réellement tapis dans l’ombre ou ne sont-ils que le fruit de son imagination ? La caméra d’Alice Winocour impose un rythme saccadé à ce thriller psychologique. La tension monte à chaque plan. Si les Américains ont leur Kathryn Bigelow, qui maîtrise divinement bien le film de guerre, Alice Winocour montre, à son tour, côté français, que le film de genre n’est pas réservé aux hommes.

– Françoise Delbecq, Elle

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