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survival
2018 · R · 1h 48m
Why do women always have to put up a fight?
She was left for dead in the desert. She didn't stay dead.
Jen is the young girlfriend of a wealthy man at his remote desert retreat when two of his friends arrive unannounced — and what follows shatters the weekend and her world entirely. Left for dead in the Moroccan desert, she does not die. Coralie Fargeat's debut feature is a ferocious, sun-drenched rape-revenge film that weaponizes genre excess into something unsparing and precise.
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Jen arrives by helicopter at Richard's isolated desert house — a sleek modernist structure surrounded by nothing. They are there for a private weekend. Richard's two friends, Stan and Dimitri, show up a day early for the planned hunting trip. Richard leaves on an errand the next morning.
Stan rapes Jen while Dimitri, outside, puts on headphones and pretends not to hear. When Richard returns, Jen expects him to call the police. Instead he tries to bribe her into silence — his wife, his marriage, his money. When she refuses and tries to leave, all three men drive her to a cliff edge. Richard pushes her off.
She falls and is impaled on a dead tree far below. She should be dead. She frees herself from the branch, and in a delirium of pain and survival instinct, presses a beer can against the wound and holds a lighter to it. The eagle logo on the can brands into her stomach as it cauterizes. She will carry that scar like a mark.
She arms herself and moves through the desert. She finds Dimitri first — the one who sat outside with headphones while it happened. She kills him. Then Stan, methodical and brutal. The desert swallows them.
She and Richard converge back at the house. What follows is a prolonged, savage confrontation — both of them wounded, both bleeding freely, leaving red prints across the white floors. The house that was designed to be a private world, hidden from everything, becomes the site of the final reckoning. Jen kills Richard.
She drives away in his SUV, bleeding and alive, into the open desert.
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