Christoph Hochhäusler, acclaimed for his films Milchwald and Till the End of the Night, ventures into the complex world of female protagonists with his latest project, Le Mort Viendra (Death Will Come). Premiering at the 77th Locarno Film Festival, this film presents a nuanced portrayal of a female hitman.
Sophie Verbeeck takes on the role of Tez, a contract killer recruited by notorious gangster Charles Mahr to avenge the death of one of his associates. As Tez navigates the treacherous landscape of Brussels, she finds herself ensnared in a dangerous game of deception where she must choose her allegiance.
This French-language thriller, co-written by Hochhäusler and his frequent collaborator Ulrich Peltzer, is produced by Heimatfilm, Amour Fou Luxembourg, and Tarantula, with a compelling score by Trent Reznor and Atticus Ross.
Hochhäusler describes the film’s creation as a remarkable challenge, particularly due to his initial struggle with the French language and the difficulties of filming across different countries. He considers Le Mort Viendra his most genre-oriented work to date, embracing traditional elements of the contract killer trope while also addressing deeper existential questions through the genre’s framework.
The director’s interest in female characters reflects his broader concerns about patriarchal structures and their depiction in cinema. He views the gangster genre as a fitting backdrop to explore these themes, providing a critical lens on traditional power dynamics. Currently, Hochhäusler is engaged in several new projects, including a dark psycho-horror set in Berlin.
He also reflects on the evolving film industry landscape, expressing concern about the consolidation of streaming services and the repercussions of recent industry disruptions. Hochhäusler stresses the importance of diverse and engaging cinema to capture audiences, while also considering the broader socio-political context that influences his work.