Marie (Cécile de France) is invited by her friend Alex (Maïwenn Le Besco) to stay at a secluded countryside house so they can focus on studying for their university entrance exams.
Far from the distractions of the city, surrounded by silence and isolation, the two hope to concentrate on their work and prepare effectively.
Upon arrival, Marie briefly meets Alex's family, her father, mother, and younger brother, before everyone turns in for the night.
The calm is shattered when the sound of the doorbell suddenly breaks the silence. From an upstairs window, Marie witnesses a grotesque truck driver (Philippe Nahon), unkempt and imposing, violently attack Alex's father before forcing his way into the house with unclear intentions.
Hidden from the killer, Marie watches in horror and helplessness as the situation escalates into a brutal massacre: Alex's father, then her mother, and finally her younger brother all fall victim to the man’s violence.
When the killer binds and gags Alex before preparing to leave with his van, Marie secretly slips into the back of the vehicle, setting herself on a path that will seal her fate.
High Tension is a remarkably effective film, the kind of thriller Dario Argento no longer seems able to deliver. It brings back the spirit of '80s Italian giallo, echoing the work of Giannetto De Rossi, with a level of brutality and intensity rarely seen.
The film relies on strong performances, particularly Cécile de France and Philippe Nahon as the killer, along with outstanding practical effects. De Rossi's work stands out for its raw impact, far surpassing the artificial feel of CGI.
High Tension feels unconventional within the landscape of modern horror. Its splatter moments are few but striking: an extremely realistic decapitation, a throat-slashing scene that's hard to watch, and a constant sense of claustrophobic tension that builds early on and carries through most of the film.
If there is a weak point, it lies in the ending. The final stretch feels forced and unconvincing, undermining what had been a tightly constructed and gripping film up to that moment.
It's a shame, because the film builds its atmosphere of dread with precision and care right from the start, delivering moments of genuine cinematic power through striking visual and musical choices, only to unravel in a final twist that feels familiar and far less convincing, ultimately clashing with the viewer's sense of logic.
That said, the film is crafted with notable skill, especially considering its limited budget, and stands out, almost like a sudden burst of energy, within the often stagnant French cinematic landscape. Its success lies in the strong coordination of every element, from special effects to cinematography, music, and performances, all guided with confidence by the director. In many ways, it recalls the passion-driven craftsmanship of 1980s horror, when filmmakers pushed boundaries through creativity rather than resources.
The young director also weaves in several cinephile references: from The Texas Chain Saw Massacre (particularly in the circular saw finale) to Halloween—with Marie echoing the archetype made iconic by Jamie Lee Curtis—as well as nods to Italian genre cinema, especially in the apartment massacre sequence.
The soundtrack is another standout element, ranging from the unexpected inclusion of “Sarà Perché Ti Amo” by Ricchi e Poveri to reggae cues during Marie’s solitary moments, alongside more traditional scoring designed to heighten tension and unsettle the viewer.
A small yet striking achievement, released in 2003 and later distributed in Italy, and, setting aside its final ten minutes, arguably one of the strongest horror films to reach Italian cinemas in 2005.
Review by Undying1
