Plot: Paul (Thomas Gioria) lives close to the remote psychiatric hospital his mother (Anaël Snoek) works at. Paul is not allowed to talk to the patients, but when Gloria (Fantine Harduin) is admitted and immediately tries to escape, they meet by chance – and Paul immediately falls in love. Determined to help Gloria any way he can, Paul helps her escape and the two go on the run. But there was a reason that Gloria was in a psychiatric hospital.
Adoration captures Paul’s perspective perfectly, but doesn’t do enough with Gloria to make their story together really work. Thus, the film always feels weirdly distant and also too long.
Plot: Police officer Buron (Benoît Poelvoorde) has a murder to solve. And his witness Louis Fugain (Grégoire Ludig) has a story to tell. But as the officer tries to trip up Fugain, believing him to be a suspect in the death, Fugain starts to fumble in his account and the interview situation becomes ever stranger and more tense.
Au Poste! may be a little subdued compared to Dupieux’s earlier films, but that didn’t take away from its entertainment factor at all. It’s a beautiful exercise in absurdity.
Eddy (Benoît Poelvoorde) was just released from prison and is now staying with his best friend Osman (Roschdy Zem) and Osman’s daughter Samira (Séli Gmach). It’s not easy for Eddy to find his footing. Osman is dead-set on staying on the straight and narrow, despite big financial worries: his wife (Nadine Labaki) is ill and the hospital bills are mounting up. And then Charlie Chaplin dies and is buried not far from them. As Eddy watches the international grief, he has an idea: what if they were to hold Chaplin’s body for ransom?
La rançon de la gloire has all the makings of a dark little comedy with its unbelievable story that is actually based on true events, but unfortunately it falls almost completely flat.
God (Benoît Poelvoorde) leaves in Brussels with his daughter Ea (Pili Groyne) and his wife (Yolande Moreau). He’s a bitter, abusive man who enjoys nothing more than making humanity’s existence as miserable as possible, including his wife and daughter. One day, Ea decides that she’s had enough. With a little nudge from her brother, she decides to find six new apostles and change her father’s regime, starting with sending all of humanity their precise date of death and destroying the computer God usually works with. But God won’t go down without a fight.
I quite liked the idea of the film and I’m sure that Van Dormael and Gunzig had good intentions. Nevertheless the film and its overwhelming sexism left a sour taste in my mouth.