INTERSTATE (2024)

Franck is an emotional block of ice, which comes in handy as a freelancer who executes his contracts as well as his targets with the same cold precision. And yet, tonight, lost in the freezing cold of the Belgian Ardennes, his grip loosens for the first time. A surge of empathy that catches him by surprise, sparing the life of the target at hand. Oh, he’s well aware he just committed an enormous mistake. As a result, it’s not only his reputation which is at stake, but his entire life. ‘Cause now he’ll have to avoid punishment from his unsatisfied client, a certain Cesar Falcone, the kind that likes to leave horse heads in the bed of his enemies. Especially when he finds out Frank’s also been getting it on with his sister and that the lovebirds are planning to escape to Marseille to start anew. On his way to the South, lost in his thoughts and convinced he can’t sink any lower, Franck is going to meet Virgil, an unassuming spectacled nerd with the charms of a reclusive oyster. And that’s when his nightmare is really going to begin…
DEALER (BIFFF 2015) put him on the radar, SALOUM (BIFFF 2022) confirmed his talent and now INTERSTATE drives it home: Jean-Luc Herbulot is a director that matters. With gusto and visible ease he navigates between several genres, between a thriller that hides its true nature and a very real love story, tinged with horror and fantastic elements. A brutal and unflinching descent into madness that Joey Starr and Asia Argento, as a modern-day Bonnie & Clyde, try to outrun on a never-ending highway that leads nowhere.