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The actors' straight faces make everything amusing. Dujardin gives Georges a stunted emotional life, numb from his breakup and unable to react to even the nastiest things around him, including his own dodgy actions as he expands his deerskin wardrobe. His unhinged behaviour is played more as a symptom of something deeper, never as mental illness. Haenel invests the only other proper character with the same matter-of-fact attitude, adding in self-awareness that's engaging and also a little disturbing.

Dupieux's riotously deadpan dialog is loaded with clever gags and knowing observations. As she watches Georges' footage, Denise sees an emerging art movie, with the jacket symbolising the shell we put around ourselves to protect us from others. This sharp comment adds a superb kick to the wackiness. Because otherwise this is a dry, silly, pitch-black comedy that simply keeps us chuckling from start to finish. And we should really be ashamed about that.

themes, language, violence

20.Sep.19 lff

Both Brummer and de Villers play their roles with an understated grace. These are men who have learned how they need to behave in an overheated masculine culture, so they dive into the military setting with ease, even as they are grappling with their private yearnings. All of this is visible without ever being obvious. And the characters around them are strikingly realistic, most notably Pelser as their ruthless drill sergeant.

Jamie Ramsay's artful cinematography not only finds the raw beauty in each location, but also cuts through the manliness to isolate the humanity in the characters. As in Hermanus' previous films (see 2011's Beauty and 2015's The Endless River), this story challenges the audience to stand up against bigotry and violence that society says are perfectly acceptable. Like those films, this is a depiction of the search for fresh air in a stifling environment. And it's more haunting than hopeful.

themes, language, violence, sexuality

9.Oct.19 lff

Mastroianni makes Maria hilariously offhanded, unruffled by her conscience. She takes everything as she sees it, so this long night is about discovering her own motivations. It's a remarkable performance, full of surprises and nuance. Everyone around her is understandably heightened, projections of her own nostalgia. This gives plenty of opportunity for the supporting cast to have a lot of fun with the material. Roger is the riotous scene-stealer, Lacoste and Cottin are simply lovely, and Biolay catches a sharp balance as the thoughtful older Richard.

Even with the film's somewhat wacky tone, Honore constantly finds deeper observations that resonate strongly. And his little cinematic references and jokes are extra gifts to observant audience members. This is the kind of film that illuminates things about ourselves that we may never have explored before, attitudes towards those around us and how our own thoughts and feelings echo around us. It's simultaneously endearing, funny, earthy and sad, perhaps a little indulgent too. But in all the right ways.

themes, language, sexuality, violence

19.Sep.19 lff