Through an immigrant cab driver, our world collides with a nervous filmmaker, a lawyer whose new breasts her ex-boyfriend wants to see, a mystery man, a gay man who may or may not be ...
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Young Simone is involved in a near fatal car crash, and as she questions her mortality, she also decides to have a baby. Her candidate for a father is her best friend Phillipe who happens ... See full summary »
During an opulent banquet, eleven pampered guests participate in what appears to be a ritualistic gastronomic carnage. In this grotesque universe, an unexpected sequence of events destabilizes the endless symphony of abundance.
A series of flashing green and red screens, set to music, create the effect of patterns in the viewer's eyes (ganzfeld). The patterns seem to react to the music, supporting the claim made in the title.
Through an immigrant cab driver, our world collides with a nervous filmmaker, a lawyer whose new breasts her ex-boyfriend wants to see, a mystery man, a gay man who may or may not be HIV-positive, and a birthday girl who got stood up. It is a mixture of laughter and sadness, all floating on a sea of philosophy.Written by
Steve Richer <email@example.com>
I enjoyed this joint effort mainly because of the work of Denis Villeneuve and André Turpin.
For a 1996 movie, Villeneuve's take on so-called underground cybernetic culture is quite insightful and at the same time, light and funny. Convincefully played by David Lahaye.
André Turpin's short, "Jules & Fanny", is thoroughly funny and original. It showcases two persons whose on-screen personalities have nothing spectacular (Jules is a rather small guy, Fanny is a typical woman next door) and yet in a short time we are brought to be fascinated by their personalities. This was before "Matroni & Moi" and "Bureaux", so we weren't quite as fed up with Martin's obsession with the death of god yet.
Turpin's camera work also holds the film together. Otherwise, Manon Briand segment is extremely predictable, not to say boring (let me guess.. it's about someone who happens to be gay), M-J Dallaire's short is amateurish and completely lacking in substance, Jennifer Alleyn's effort is a tribute to her own personal nostalgia with French Theatre of the 1950s, while Paragamian's finale is just not very entertaining.
I'd give it a 9 if it were for VIlleneuve's and Turpin's segments alone.
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