More than a few eyebrows were raised two years ago when it was announced that the next outing by Bruno Dumont, dour auteur extraordinaire, would be a comedy. But then Li’l Quinquin screened in the Director’s Fortnight and blew everyone away, eventually coming to top Cahiers du Cinéma’s list of the year’s best films. Not only was the four-part miniseries (or four-hour film, per Cahiers) side-splittingly funny, but, surprisingly, it also made perfect sense as a Dumont film. The genre volte-face didn’t require the director to venture into unknown territory — he simply had to push his signature sternness even further to render it hilariously absurd. Hopes were therefore high for Slack Bay, which sees him continue in the same vein. Disappointingly, the film feels like someone trying very hard to imitate Li’l Quinquin, pulling off but a pallid counterfeit.
Dumont constructs most of Slack...
Dumont constructs most of Slack...
- 5/13/2016
- by Giovanni Marchini Camia
- The Film Stage
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