Tag: revenge

The Lady Professional

  By

★★★
“Keeping it professional.”

After a bit of a slow start, this eventually delivers and becomes a good entry in the “female assassin” genre. Just do not expect much in the way of martial arts, as there might have been had this starred the likes of Angela Mao or Sue Shiomi. Ge Tianli (Ho) is the working girl of the title, and uses a nifty Bond-esque gadget in the process of her job. It’s a make-up compact which has been modified to fire lethal darts at her target. Though if I was her boss, I might be inclined to question her choices of location. We first see her killing a guy on a roller-coaster in motion, which seems unnecessarily difficult.

Or perhaps it was just intended to show that she’s such as bad-ass, she can take you out anywhere? Although she’s not actually an assassin by choice. She originally got in the field of work purely for personal reasons, taking revenge after her family was murdered. However, a triad boss, Xiaojiang (Chang) has evidence of this, and consequently, she now has to carry out hits at his beck and call. She’d rather just be serving tea in her cafe. Tianli gets commissioned to take out Shi Yun-pu (Chan), who is about to squeal on a smuggling operation. Fair enough, except the one commissioning the hit then decides he wants to tidy up loose ends, and cuts the brakes on her nifty sports car. 

 You can likely fill in the rest of the plot yourself. She does not take well to the attempted assassin assassination, and works her way up the chain of command to find the man responsible. This is where things get considerably more interesting, after a first half which is rather too chatty, with the odd interruption for compact carnage, and a not particularly exciting car chase. But when Ho (who really doesn’t look particularly Oriental) gets the bit between her teeth, the film certainly amps up a gear. She wears a shiny black (p)leather coat as she climbs the ranks, and while she demonstrates little or no hand-to-hand skills, proves adept enough with a gun to get the job done. 

I particularly enjoyed her battle in a warehouse against three goons, one of whom is Yeung in an early role. It’s established early on that she can’t possible outfight them: her opponents are simply to strong for her to damage them. However, she uses the environment (which also includes a surprising amount of trampolines) against them effectively, leading to a trio of deaths by construction equipment, including a surprisingly messy fatality by industrial chipper. She then dresses as a nun (!) in order to get close to her final target, as he wisely tries to make his way out of the country. By this point, I was enjoying it considerably more than I expected in the early going, where our heroine didn’t seem to be doing much. Stick with it, I’d say, and you may well find an adequate payoff. 

Dir: Chih-Hung Kuei and Akinori Matsuo
Star: Lily Ho, Chang Pei-shan, Chan Shen, Bolo Yeung

Liverleaf

  By

★★★★
“Everyone has a breaking point.”

Haruka Nozaki (Yamada) is just a couple of month away from graduating junior high. But will she make it? Because her life is being made a living hell by bullies at the school. Rumour has it that she “stole” a boy, Mitsuru Aiba (Shimizu), from another girl, Taeko Oguro (Ôtani). As a result, Haruka has become the relentless target of other female students. The staff are no help: the school is going to be closed after this class graduates, and the teachers consequently couldn’t care less. Indeed, Haruka’s father, a substitute teacher – that’s why she ended up transferring in – is being victimized by the male bullies, in a similar way to his daughter.

Things come to a head after fire destroys Haruka’s home, killing her parents and putting her perky little sister in the hospital with severe burns. And when I say, “come to a head”, the rest of the film is filled with some of the more disturbing violence I have seen in recent years. The attitude here feels almost like Battle Royale, in that the people inflicting this level of savagery are basically kids. They are not supposed to be this way, folks. There’s not even the distancing element of a dystopian future, which Battle Royale enjoyed. Nor it is simply Haruka. You can’t claim “one bad apple”, because there are a lot of people here, who seem to live by the motto, “Hurt people, hurt people.”

The famous quote, “The only thing necessary for the triumph of evil is for good men to do nothing,” often misattributed to Edmund Burke, came to mind here too. Because, while Mitsuru initially pushes back against the bullies targeting Haruka, it’s a half-hearted effort. Though I guess it’s better than the completely useless adults, from parents through pedagogues, to the all but entirely absent authorities. By the end though, you will perhaps be left questioning whether anyone here genuinely falls into the category of “good.” Everyone has their traumas, which have left them negatively impacted, and many are paying it forward to others. This is most apparent in the character of Rumi Sayama (Ôtsuka), one of the bullies’ victims, who ends up joining their clique. 

Naitô directs things with a bleakness appropriate to the story. Much of it unfolds against a backdrop of snowy weather (the title, incidentally, refers to a  winter flower). If there’s one shot of red, red blood splattering across a snowdrift, there’s a dozen. But it’s such an iconic image, I can’t blame him for using it more than once. I note that Naitô himself used to be a teacher. This isn’t the only case where that previous career seems to inform his work, if the title of a previous movie is any guide: Let’s Make the Teacher Have a Miscarriage Club. I’ve seen enough movies that my level of concern for the Japanese educational system, and those who go through it, is certainly non-zero. This ensures it won’t be going down any time soon. 

Dir: Eisuke Naitô
Star: Anna Yamada, Hiroya Shimizu, Rinka Ôtani, Rena Ôtsuka

La Quinceañera

  By

★★★½
“Unhappy birthday.”

If it hadn’t been for the lack of an ending, this would likely have got a seal of approval. The problem is, this web series came out in 2017, and as we close in on a decade later, I am beginning to suspect we may never see all the loose ends addressed. It begins with a quinceanera party, the traditional Mexican celebration to mark the coming of age of a young woman. In this case, it is being thrown in honour of Alejandra Santos (Xitlali), whose father Reynaldo (Mendoza) runs a Mexican restaurant. She really doesn’t want to be there, and her doubts prove well-justified, because it gets gate-crashed by Chavo Del Rio (Retamal) and his thugs. 

I was going to tag this as “Die Hard at a quinceanera“, since initially that’s what seems to be happening. Turns out Dad made a business deal with very sketchy people to “hold” various items. When some of these go missing, he is blamed (it’s actually due to ne’er-do-well son Santiago and his pal), leading to the unexpected arrival of Chavo. Reynaldo’s denials lead to things getting very bloody, but Alejandra is able to get the drop on one of the thugs: there’s a death by sceptre which has to be the most symbolic weapon used, since Zoe Tamerlis used an iron to crack a rapist’s skull in Ms. 45. It’s after this, where things divert significantly from the expected route. 

I will admit that Alejandra’s transition from truculent teenager to avenging angel is rather abrupt. However, it does eventually become clear that she has a lot of heritage on her side, not least her abuela or grandmother (Reynoso), who clearly has some history of her own. Indeed, on the Del Rio side there’s no shortage of bad-add mujeres either: the matriarch, Bertila (Bertila Damas), has some very strong views on this topic. By the end, it’s almost girls with guns the whole way down on both sides (albeit for some quite loose definition of “girls”, in regard to their age!). There has been a lot of ground covered, in around only seventy minutes: this is a web series of seven episodes, each being little more than ten minutes long. 

I was very surprised to discover this was a Canadian production, filmed in and around British Columbia. There’s a strong Southwestern feel (something I’m familiar with, living just a couple of hours from the Mexican border), and I will certainly be checking out more from the makers. At first, I had concerns it would end up being more of a teen soap opera – think The OC, with a side of salsa. Fortunately, the company name, Luchagore Productions, is a clue that it won’t pull its punches: I think the moment I realized this was where a party guest had his mustache carved off his face with a machete. Yeah, it’s like that, and the red stuff flows like the Rio Grande thereafter. Just do not expect any resolution. 

Dir: Gigi Saul Guerrero
Star: Mia Xitlali, Mathias Retamal, Mauricio Mendoza, Gabriela Reynoso

Barbaric Acts

  By

★★★½
“Revenge has never been so… messy.”

This begins with a caption detailing the horrendous number of gun deaths annually in Brazil, including several thousand per year in police actions. Given the synopsis, I wondered how the film was going to reconcile this with its own subject – would the answer to gun violence be… more gun violence? The answer is, the film doesn’t really bother to try, instead embracing the contradictions in a way that permits no logical conclusion. Indeed, it fails to offer one. The original title translates as Barbaric Times – Act I: Revenge Therapy, hinting at more to come – this explains, if not excuses, the abrupt and unfinished ending.

Carla (Abreu) is a happily married attorney, until her daughter is shot during a botched street robbery. This sends her spiralling down into an increasingly dark place, as it becomes clear there will be no conventional closure, the case simply being one of too many for the authorities. A self-help group doesn’t, and nor does mercenary vigilante justice, the operative in question believing one dead thug is as good as any other. Her husband (Mello) leaves Carla as she won’t let go, and her spiral culminates in an attempt to shoot herself in the same spot as her daughter. Yet this proves a potential turning point, Carla realizing only one person can take revenge for her. But how far up the chain should her quest for vengeance take Carla?

It certainly gets you into the head of its heroine, on her descent into psychological hell. The refusal to take a stance regarding the morality of her position is admirable, and I found myself pulled first one way, then the other. I particularly enjoyed Carla yanking the rug out from under the pacifist proclamations of the self-help group’s leader (Lemmertz), by offering her the murderer of her parents on a plate. I suspect it’s this kind of moral equivalency which led to some of the more sniffy critical opinions in the film’s home country. Me? I acknowledge and respect the position that, yes, sometimes violence is the solution, thank you very much.

Aside from the abrupt ending, it does feel stretched quite thin, and the pacing is a little weird, with the narrative bouncing around in time. It surges with a pulse-pounding chase sequence through the streets after Carla encounters the criminal responsible. Then it circles with a notable lack of aim or purpose for extended periods, before reeling you back in with a change of direction. The overall impact is positive, and occasionally shocking, such as the discovery that in Brazil, buying a car involves casually deciding the degree of bullet-proofing you want. Bernstein intends it to be the first in a trilogy about violence in Brazilian society. On the strength of this, I hope he gets the chance to make further installments, despite clearly being more interested in asking hard questions than providing difficult answers. 

Dir: Marcos Bernstein
Star: Cláudia Abreu, César Mello, Júlia Lemmertz, Alexandre Borges
a.k.a. Tempos de Barbárie – Ato I: Terapia da Vingança

A Woman Scorned

  By

★★★
“Hell hath no fury?”

This had a fair number of decent and well-done elements. However, it very much feels like these are balanced by the aspects which fall short of adequate. How you react to this will likely be determined by your ability to overlook the latter, and appreciate the former. The basic idea is lean and mean. Sisters Jas (Purvis) and Laura (Pauley) are on a country weekend, when they encounter a car-load of men led by the particularly sleazy Randy (North). This leads to a home-invasion, a dead Laura, and Jas going on a rampage of revenge through everyone Randy can throw at her. Fair enough there, with enough brutal violence to leave the most blood-thirsty satisfied.

But I have questions. So many questions. Why does one sister have an American accent? Why are the villains so utterly incompetent? I mean, they can’t even tie Jas up for ten seconds – never mind taking advantage of the many, many opportunities to dispose of her entirely. Don’t even get me started on the gas canister scene: hello, throw it through the window? How does Jas, who has never been in the area, magically know the location of their headquarters, and so can head straight for it? Where did she acquire that very particular set of skills? All we get is a passing reference to her having taken a self-defense class – all I can say is, these lessons must have been given by John Wick. 

Because Jas goes from zero to stabbing someone in the neck, in about thirty seconds after finding the body of her sister, and takes more damage than a crash-test dummy, without flinching. As for calling the authorities? It’s vastly over-rated. This really leaves her character with nowhere to go for the rest of the film: a slower escalation would probably have been more satisfying. None of the above flaws are necessarily show-stoppers by themselves. The damage criticism, for example, could equally be levelled at the heroine in Revenge. However, they all combine to chip away at this film’s overall entertainment value, in effect leaving it doing the Hokey-Pokey: one step forward, one step back. 

This is before we get to specific elements, like the performances. These are similarly over the place, particularly among the villains. Fortunately, North – who likely has most acting to do, since Purvis’s performance mostly requires screaming – makes for a pleasantly hateable bad guy. There’s some spectacularly bad CGI fire; the practical stuff is fine, with energetic blood spatter, and everyone selling each bit of damage with the enthusiasm of someone auditioning for the WWE. This momentum is sufficient to paper over some of the flaws, though it would be optimistic to say it covers them all, or anywhere close to that. But I am a simple man, with simple needs. Consequently, I’ll always look somewhat kindly on a movie which possesses zero pretensions and a large bucket of red-coloured corn syrup.

Dir: Rebecca J Matthews and Michael Hoad
Star: Megan Purvis, Aaron-Jon North, Hannah Pauley

Revolver

  By

★★★½
“Speak softly, but carry a big stick.”

You need to be patient with this. Both in terms of its plot and, more generally, its attitude. This isn’t exactly action-packed. Yet the heroine – and I used the word loosely – is an unstoppable force of nature. Just more like a glacier than a tornado. She never rushes in, always having a plan, and rarely raises her voice. Yet woe beside anyone who tries to get in her way. She is Ha Soo-yeong (Jeon D-y), whom we first meet as she is being released from prison at the end of her sentence. Turns out she was a policewoman, busted for corruption in a scheme also involving her cop boyfriend. 

Ha agreed to take the fall, in exchange for post-prison consideration: a large cash sum and an apartment. But by the time she serves her time, the world has moved on. Her boyfriend killed himself, the apartment was given away, and the gangster who promised to take care of her, Andy (Ji), is no longer part of the organization. Ha just wants what she feels she is owed. When her polite requests for this are rebuffed, she is unwilling to take no for an answer and move on with her life. No longer constrained by the chains of official justice, Ha sets about finding someone who is willing to pay up, with the help of Jeong Yoon-seon (Lim), and others with various interests in the outcome. 

Naturally, there are those who are not keen to have the awkward situation they thought they had covered up, brought back to attention. Whether it’s the detective still on the beat, or Grace (Jeon H-j), the woman now in charge of the criminal operation, Ha represents a potential problem, which must be solved. While the movie is part of the ever-popular Korean revenge genre, it does provide a different twist. The wrong for which Ha seeks payback is largely a result of her misplaced trust – and after all, she is still a corrupt cop. Yet, courtesy of Jeon’s excellent performance, I still found myself rooting for her. Her calm demeanour is certainly a refreshing change from the more emotive heroines we typically get.

The viewer will need to accept the film is going to unfold at its own, relatively leisurely pace. Yet if you can, I’d say the payoff should be more than adequate, not least in one of the more unusual central characters we have covered on the site. That said, rather than the titular weapon, Ha proves capable of wielding a mean extendable baton. She beats seven kinds of manure out of Andy after he tries to fob her off with drugs, instead of promised money. For if violence may not be her first choice, it always remains a viable option. I might have preferred a little more of it, considering how many disreputable characters she comes across. This, incidentally, does not apply to Grace, who might be the smartest person here. She at least knows when to cut her losses.

Dir: Oh Seung-uk
Star: Jeon Do-yeon, Ji Chang-wook, Lim Ji-yeon, Jeon Hye-jin

Dietroit 2 Chiraq

  By

★½
“Aspirations impossible to fulfill.”

I’m not averse to the concept here. The Tubi synopsis says, “Three women rampage from Detroit to Chicago seeking revenge on Davion Legrel I, the ruthless criminal who killed their best friend.” I’d watch that movie: if anyone ever gets around to making it, let me know. Because this certainly would require subdued lighting and a very specific angle, as well probably as some kind of eye condition, before it could be mistaken for the synopsis. I am even slightly interested in lead character Christina (Brazier), a former Army nurse who, bizarrely, alludes to having learned interrogation skills while on tour in the Middle East. This would not be a combination I’ve encountered before. 

Unfortunately, that’s where the good news ends. I guess the synopsis is technically accurate, providing you are happy with a very loose definition of the words “rampage”, “revenge” and “ruthless.” For the main problem is simply resources unable to depict convincingly what’s in the script. The most woeful example is when Christina and pals Robin (Merrill) and Stephanie (Reynolds) arrive in Chicago, and go to a “club” in search of information about Davion (Spearmon). “This is a classy place,” says one attendee. No: it is not. It looks far more like an empty office suite, having folding tables as furniture, and two bits of paper on the wall, with the words “CLUB” and “HADES” printed on them. And don’t even get me started on the woeful rap artist, supposedly launching his EP. 

These poverty-row production values permeate the whole production. There’s a latter sequence supposed to be set in a top-end bordello, where our trio masquerade as hookers (explaining the cover), again for information gathering purposes. To be blunt, I’ve seen condemned crack houses with more erotic ambiance. The problem is, basically, ambitions far in excess of what the makers can deliver. They should have gone the other direction, rather than trying (and failing miserably) to appear high-end. Go low instead, and aim for gritty authenticity, telling a story fresh off the streets – a 40-ounce of MD 20/20, rather than Rémy Martin. Make that brothel an actual drug-den, ugly and grimy, and turn Christina’s journey into a descent to a lower circle of hell. 

The results often left me feeling second-hand cringe for actors likely better than the film deserves, and relentlessly obliged to play make-believe so hard, to try and sell what’s happening. Meanwhile, the rest of the film seems to be actively trying to sabotage them, courtesy of elements like unconvincing CGI muzzle flashes. Though I was amused by the unexpected recycling of one of Pulp Fiction‘s most notorious lines. Specifically, the one about being a holding location for deceased persons of African-American heritage: it probably works better here, than coming out of the mouth of Quentin Tarantino. But it’s a rare moment where this manages to be other than an embarrassment. Even by the standards of this genre, this is well short of adequate. 

Dir: Shawn Woodard
Star: Shavannahre Brazier, Richelle Merrill, Lakeisha Reynolds, Shawn D. Spearmon Sr.

Sister’s Revenge

  By

★★
“The Harder They Fall”

This gains something for novelty value, coming from Jamaica – a country from which I think I have only ever seen one film before, reggae classic The Harder They Come. It’s also so obscure, there’s no listing for it in the IMDb. Unfortunately, despite being available to watch on Tubi, the presentation leaves a lot to be desired, particularly in the subtitles. The film’s dialogue is in a roughly equal mix of heavily-accented English, and Jamaican patois, often in the same sentence. It feels like the subs were generated purely by an audio to text application, so the English captioning is spotty and there’s no translation at all for the patois. As subtitles go, they’re basically useless.

I was still able to discern the plot easily enough, though details like the lead character’s name remain a mystery, in part because of the lack of other sources of information. I’m going to call her Sister (Francis), in line with the title. She is a soldier, who is also responsible for taking care of her 16-year-old sibling, Blessing (Wallace). Unfortunately, Blessing has just confessed that she is pregnant, and worse, there are two possible fathers. Sister is less than happy about this. After confronting the young men, and getting nowhere, she goes to the police and convinces Officer Dibble (Vassell) to arrest them. This lasts only until the mother of one, Sonia (Russell), bribes Dibble to let them go, having failed to bribe Sister to drop the case. 

It’s therefore up to Sister to make sure justice is served herself. She abducts one of the perpetrators, and makes him confess, an act which allows the case to go up above Dibble’s head. Sonia then pays Dibble more, to take care of Sister permanently, but her military training makes him no match. [To be fair, when he goes to see the men, he’s holding his hand-gun sideways, then tucks it into the front pocket of his jeans. Jamaican police are rather loose with firearms training, it appears]. She then repeats the exercise with Sonia, extracting a confession on video of her bribery, allowing her and Blessing to achieve closure, apparently deciding they will raise the child together. 

It seems very basic, though given the subtitle situation, this is no bad thing. The first half in particularly is very chatty, basically an extended series of conversations: Sister & Blessing; Sister, Blessing & Dibble; Sister & Sonia; Sonia & Dibble. Director Brown doesn’t seem to have a lot of shots in his locker, so these have to sustain on the acting, and that’s a mixed bag. Francis and Russell are the best, and the scenes between the two guardians do crackle, but Wallace is unconvincing, and I was never particularly on Blessing’s side. [The sex seems to have been entirely consensual] I’m reluctant to be too harsh, since the presentation certainly doesn’t help. Outside of being a groundbreaking curiosity, I’m not convinced there’s much of note here. 

Dir: Richard Brown
Star: Jessica Francis, Jayvia Wallace, Candice Russell, Andrew Vassell

Ghost Killer

  By

★★½
“Spectrally short of satisfying.”

By coincidence, I watched this after Baby Assassins 3, without realizing the star here plays Chisato in that franchise; the director here was also its action director. Discovering the overlap is a minor demerit against Ghost Killer, because it counts as something of a waste of her talents. It’s a lovely idea – if you’re just an action fan in general, then it likely scores half a star higher. However, specifically as an action heroine film, there is room for improvement. It begins with the assassination of an assassin. Hideo Kudo (Mimoto) works for a criminal organization, and his death occurs in somewhat murky circumstances. The spent cartridge used to kill him, takes on his vengeful spirit, and the casing is picked up by an innocent college student Fumika Matsuoka (Takaishi). 

After a period of mutual adjustment to being haunted and doing the haunting, Fumika agrees to help Kudo find out who was responsible for his murder, and take revenge. She is the only person who can see and talk to Kudo, and when she grasps his hand, that allows him to take over her body, with all the associated hitman abilities. Along the road to his vengeance, they will have to deal with a date-rapey triple tag-team, as well as another assassin in the same organization, a former student of Kudo, Toshihisa Kagehara (Kuroba). That pair’s relationship is a little fraught, even after Kagehara is convinced about the reality of what is happening. 

The first half of this is very solid, highlighted by the performance of Takaishi as both a college student and a vengeful killer – simultaneously, which makes it all the more remarkable. It means she has to be an expert fighter, and somebody who wouldn’t say “Boo!” to a goose, as her and Kudo tussle for control. I feel as if that enough would have been sufficient to propel the narrative of the entire film. However, it ends up diverting into less interesting Yakuza-based activities in the middle, and it almost becomes easy to forget that Kudo is dead. There aren’t really any surprises once the framework of the situation has been established, heading towards the eventual and predictable confrontation between Kudo and his killer. 

And that’s the problem. It’s between Kudo and his killer, not Fumika. It’s still “in her body,” and I enjoyed the scenes where Kudo is guiding her to hide – telling her when to go around a pillar, for example. But when battle is joined, the film shows Mimoto doing the fighting, not Takaishi. Don’t get me wrong: it’s a very good fight, and that’s why I’d say a general viewer is still likely to be satisfied by it. But I was looking forward to seeing the actress really getting to let loose. After all, having experienced the Baby Assassins trilogy, there’s no issue about her martial arts abilities. Seeing her largely sidelined at the end was a disappointing way to finish things off. 

Dir: Kensuke Sonomura
Star: Akari Takaishi, Masanori Mimoto, Mario Kuroba

Agent Zero

  By

★★½
“Shaky, in a number of ways.”

Alma Siracine (Vacth) was a black ops agent for the French government, until an assignment in Syria went pear-shaped, and she resigned her position. Seven years later, she’s living quietly with her policeman husband in Morocco, until he’s the victim of a drive-by shooting. She finds the attackers and terminates them. Unfortunately, they are the sons of local arms dealer Manour Khoury (Dazi). Not helping, he is under the protection of the French government, being allowed to operate in exchange for funneling information to them about terrorist attacks. Spymaster Joanna Walter (Bercot) decides Alma is a loose end in need of tidying. Alma, naturally, is of a different opinion, and won’t be easy to clean up.

The main problem here is de Fontenay’s fondness for shakycam in the action sequences. Not just one or two. It feels like every time anyone moves at a pace quicker a walk, the camera immediately starts to have some kind of seizure. It’s clearly a tactic designed to instill a sense of immediacy. Paul Greengrass used it to great effect in the Bourne movies. But it isn’t just a case of taking a handheld camera and waving it around. You need an editor who can assemble the footage into a coherent format. Sadly, that’s what is absent here, and the results are usually difficult to follow, and on occasion liable to induce a headache. 

Consequently, I found myself almost dreading the appearance of an action sequence. Not exactly a good thing to experience during an action movie. Whether it was her brutally efficient dispatch of Khoury’s sons, a motorcycle chase through the streets of the seaside town where she lives, or the final battle with Khoury’s men at the port in Casablanca, the approach is the same. It feels like a throwback – and a most unwelcome one at that – to the style of action cinema popular twenty years ago. I thought we had moved on. Apparently not. The film is (literally) on more solid ground when depicting the murky world of international espionage, where pragmatic decisions are made without consideration of the moral concerns. I actually have some sympathy for Walter and her almost impossible situation. 

Outside of the camerawork, the technical elements are generally fine. The film makes decent use of its Moroccan and Middle East locations, and Dazi makes for a decent villain, believing himself untouchable, regardless of what he does. However, the overall structure feels off in some way, and the film just seems to end in a way likely to provoke a “Well, that happened” reaction in the viewer. Vacth has some effective moments, and the film never totally lost my attention. But it did teeter on the edge more than once, especially when it made me feel like I had contracted an inner-ear disorder. Those with a stronger stomach than I might find more to enjoy here. Wouldn’t necessarily bet on it though.

Dir: Guillaume de Fontenay
Star: Marine Vacth, Emmanuelle Bercot, Slimane Dazi, Niels Schneider
a.k.a. Badh