As Vincent seems increasingly unstable - he also seems to be addicted to prescription medicine - the question becomes: is he paranoid, or is there really a plot against the family? The issue is resolved relatively early, but unfortunately the resolution just makes everything that comes even harder to believe. Nothing makes sense, from the behaviour of the police, to the actions of any of the other characters, but weirdly the film remains immensely watchable mainly because the magnetism of the two leads and particularly Schoenaerts' gleaming intensity. His performance deserved a better film, and Kruger's deserved a better written character, or even a character. Winocour is heavy-handed in ladling a discordant electronic score on top of a performance that could do it on its own if left to breathe. The paranoia is tensely handled and there are some genuinely good sequences, but there is a slightness to the plot. There is pot-pourri of cliché here, from the arm dealer and the kept wife, to the wounded veteran, to the family in danger: think 1992's The Bodyguard meets something equally uninspiring. Maryland doesn't so much end as give up. Almost all questions remain unanswered, and the open-endedness spoke more to the director not being bothered rather than wanting to suggest ambiguity.
The 68th Cannes Film Festival takes place from 13-24 May 2015. For more Cannes coverage, simply follow this link.
John Bleasdale | @drjonty