The Man in the Orange Jacket
An collective rage boils within. He and hundreds of employees have just lost their jobs because their boss selfishly decided to sell his haven, proving once again that the poor pay the price while the rich reap the rewards. But not this time. Dressed in his uniform and armed with his tools, he stealthily infiltrates his boss’s house and kills him in cold blood. His boss’s breathtaking girlfriend knows a similar fate. Justice has been served. With the bodies safely tucked away in the basement, the man in the orange jacket can finally celebrate his victory — time for the high life of classy restaurants, escorts and fancy cars. All he needs is to appropriate his victim’s identity. The good times will be short-lived, however. Just when he’s beginning to enjoy his new life, strange sounds start to trouble his sleep. His peace of mind is also affected by the intrusion of a strange character, not to mention this menacing silhouette that spies from afar, a silent observer that scrutinizes his every move. A nerve-wracking frenzy begins when paranoia invades the man with the orange jacket. Music!
Immediately commit the name Aik Karapetian to memory. This Armenian filmmaker’s THE MAN IN THE ORANGE JACKET is this year’s most groundbreaking dramatic horror picture. Inspired by Lars Von Trier, the student surpasses the master with an audacious slasher that intelligently criticizes the economic class struggle. It’s a finely directed film that also manages to instill a subtle, soul-haunting fear that refuses to loosen its grip. The protagonist’s fears quickly become our own as we're slyly drawn into a delirious world of Kafkaesque absurdity. Each new scene comes with its own set of chills, dragging us deeper and deeper into a shady world of which the worst nightmares are made. Take our word for it, THE MAN IN THE ORANGE JACKET equals David Lynch’s LOST HIGHWAY in its capacity to transform everyday life into a falsely familiar universe in which all points of reference crumble and make way for an unfathomable terror. It also has several scenes of unbearably realistic violence, whose hardness sometimes recall the cinema of Bruno Dumont. For all those who believe the fright flick incapable of reinventing itself, THE MAN IN THE ORANGE JACKET steps up as a provocative and unforgettable rebuttal that, much like last year’s ACROSS THE RIVER, never forgets its roots. It definitely deserves its place within the pantheon of prodigies.
— Simon Laperrière