Being a looser, like George Miller is, in a country where individuals are condemned to success can only lead to a deadly end. George Miller has decided to speed things up and suicides himself… But he’s stuck with bad luck and his way out is a failure: he ends up with a swollen face and paralysed legs in a hospital, in a female doctor’s compassionate hands, who freshly graduated and is thus still nurturing all her illusions.
When George Miller failed his suicide, another looser who was born on the same day as him left this old world, burnt alive by some vindicative game partners who had not forgiven him for not having honoured his debts. And in aid of a sordid and fortuitous arrangement, both incidents are going to mix up together, forcing the survivor to relentlessly get his revenge.
Without knowing that he is the bearer of a punishment respecting the law of retaliation, the painter’s daubed universe will be coloured with blood red and his illustrator fingers will turn into criminal hands.
“Actually, these cases of post-mortem possessions aren’t new in cinema. We have to admit that they even abound… But all the same, you need ways and means to transmit criminal powers with delicacy.
New in cinema, Guy MAGAR, from TV series, gives the impression that he perfectly controls his topic. The story is told with concision, attention to detail and division which aren’t common things any more these days…
Concise, captivating and remarkably played, Retribution should effortlessly be the start of a new production society that Guy MAGAR has just staged, this new high manipulator of horror who has already no fewer than five new projects at home!” – Norbert MOUTIER
“Guy MAGAR seemed keen to avoid any cliché in terms of imagery and screenplay. The amazing staging manages to create a real climate of tension, of underlying violence perfectly sustained by Alan HOWARTH’s stressful score, who is John CARPENTER’s regular composer.” – Marc TOULLEC

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