Similar to the massive wave of shark hunting that began after the release of Spielberg’s Jaws, Rutger Hauer’s role as John Ryder in the 1986 classic The Hitcher cemented the idea that hitchhikers are dangerous in the minds of audiences around the world. After all, who would give a ride to a stranger in the middle of nowhere after watching that movie? British director Abner Pastoll’s new film, Road Games, however, cleverly subverts audience expectations in this intense thriller set in the lonely roads of rural France.

Road Games stars Andrew Simpson and Joséphine de La Baume as Jack, a young English man attempting to run away from a failed relationship, and Véronique, a young French woman tired of her life in such a lifeless place. Once the two meet a mysterious road-kill collector named Grizard, played by Frédéric Pierrot, things take a turn for the worst as they are forced to spend the night in his isolated house, in fear of a hitchhiker hunting serial killer.

Although the premise seems fit for a late night slasher movie, Road Games’ plot contains some serious twists after a slow yet suspenseful first half. A few bits of story seem to have been borrowed from another stellar French-based horror movie, High Tension, but the film is still original enough to forgive a most of the present clichés. The film also benefits from great chemistry between Simpson and La Baume, not to mention the clever use of language as means of creating suspense, since Jack can barely understand his French peers.

Pastoll certainly has an eye for scenic imagery, and Road Games uses the beautiful French countryside to its advantage. Contrasting colorful fields with horrific events results in a visually stunning feature that often feels like a romantic road trip movie with a bloody twist. This atmospheric build-up results in an interesting film even during slower scenes focused on character, and ultimately makes the protagonist’s helpless situation believable.

It may appear that Jack is the main character here, as we see events unfold through his confused eyes, but Joséphine really steals the show with a flawed, deeply layered character. Véronique is actually the driving force of the story, as Jack simply spectates and reacts to the events that she’s put in motion. I can’t go into further details without spoiling the film, but suffice to say that even the apparent antagonists are overshadowed by her character, which can be either good or bad, depending on your appreciation of the experience.

Road Games could have benefited from a slightly shorter runtime and more memorable villains, but it still feels like one of the best road-based horror movies since the original Hitcher. Without some of the more derivative elements, the film might have joined High Tension and Martyrs as e semi-French classic. In any case, it’s still an immensely enjoyable experience, and Pastoll’s direction is surprisingly stunning in a genre where there’s often more blood than skill splattered across the screen.