Bruno Dumont’s formalism is charged with a spark of simultaneously controlled and spontaneous mystery.
Cruelty here can feel cheap, perhaps a result of Dumont not knowing how to effectively command comedy yet.
The film dabbles in the French romantic-comedy tradition and simultaneously spoofs it, committing to neither.
Even though the subtext about the past and modernity constantly being at odds is intriguing, the director presents this in a clunky, almost didactic fashion.
It’s buoyant and titillates, striking that distinctly Ozonian balance between the beautiful and the sinister, but it doesn’t resonate.