The Canadian fashion thriller 'The Successor,' which initially pretends to be a family drama, has been released in wide release in Russia. How does this auteur film try to attract viewers of all kinds, and why is it worth watching? Read our review.

Famous fashion designer Elias Barnes (Marc-André Grondin) is preparing to become the head of a fashion house. Suddenly, he is informed that his father, with whom he has not spoken for many years, has died. Elias needs to leave temporarily to arrange the funeral and handle matters regarding his father's remaining property. But the hero does not even suspect what this trip will turn into for him.

The Franco-Canadian film directed by Xavier Legrand, an Oscar nominee and César Award winner, is an adaptation of the French novel 'The Successor' by Alexandre Postel.

According to Legrand, 'this is a genre film, but one that defies specific definition. It is neo-noir, horror, a tragic parable, and a psychological thriller.' One could also add drama, and perhaps such a mix aptly describes the feeling of watching 'The Successor,' as the film skillfully combines elements of different natures.

Despite being called a fashion thriller, fashion here is an enticing element that draws the viewer into the seat, sets the rhythm, and then almost disappears from the film's narrative, giving way to family drama and thriller. This shift in emphasis in a way increases interest in the film. And if we also mention the films that come to mind associatively while watching, curiosity will grow even more. But on the other hand, that would be an unforgivable spoiler.

'The Successor' is very much an auteur film that nevertheless wants to be seen and remembered by everyone, not just art-house lovers. The plot develops quite unpredictably and combines different themes. First and foremost, 'The Successor' is a story about family legacy passed from father to son not only in the form of property and money but also through genes and upbringing. The director explores to what extent a person can truly choose and build their own destiny, or whether the fear of predetermination takes over, parents' nightmares become yours, and lead to tragic consequences.

Alongside the family drama, there is a more personal one: what are you willing to do to preserve your reputation, essentially your future? After all, we can all sometimes do things we thought we were incapable of. But stress factors and the fear of losing everything dictate new rules. And if you serve this dish together with the theme of secrets that may lurk in the depths of souls and within the walls of surrounding houses, surprise turns into shock at oneself.

The main character in 'The Successor' is a contradictory person. Over the course of the film, as a viewer, you experience several emotions towards him: from admiration to disappointment and even shock at his actions. But at the same time, leaving the cinema, you realize that you still empathized with the hero, and his feelings and emotional turmoil are quite close and understandable.

Though not delving too deeply, the director reflects on the world of fashion, which, like cinema, belongs to the entertainment industry. This means objectification, glossiness, and attempts by art to satisfy viewers' desires while preserving some idea are inevitable. When you want both to speak out and to be liked.

Everyone will see something different in 'The Successor,' whatever resonates with them most. The film is interesting to discuss after viewing, so be sure to endure the melancholic beginning if you find slow pacing difficult. Once the drama transitions into a thriller, you will understand that the wait was worth it. And perhaps, leaving the cinema, you will ponder who you are and what awaits you in the future. Or, on the contrary, you will not want to ask yourself uncomfortable questions.

The fashion thriller 'The Successor' was released in wide release in Russian cinemas on April 25 thanks to film distribution companies A-One and Russian World Vision.