Das Imperium

And no pun intended either - but on a serious note: this should be watched with an open mind - and with the knowledge of ... nothing! As in not questioning things that happen here. There are not many things that make sense here. Yes it is good vs. Evil - but shortcuts could have been made. Both sides are ... lacking certain qualities ... things are too on the nose (binary system with 0 and 1 that is being used) ... others are way too ... let's say it is not political correct.

Why Aliens would use buildings and furniture is beside me ... but back to my point of not trying to think anything ... it is tough as you can see. But why use entertainment in a form that is quite ... let's say discriminatory ... and I am being nice in calling it that. If you see how the evil "lord" amuses himself ... what or rather who is being summoned ... I would not blame you if you have issues with that.

But comedy is supposed to be mean ... has to have an edge ... these may be arguments you have ... fair enough! I am not telling you how to feel about things depicted here ... just trying to prepare you. Now bow down and accept this as your true Emperor ... I am just kidding ... or am I? Well don't trust the police to be of any help ...

I'm so glad for the continued existence of filmmakers like Bruno Dumont in this world of endless remakes, reboots, sequels, prequels. I mean, those that adore Wes Anderson for the uniqueness of his vision never saw a flick like "L'Empire". None of the descriptions I've read online really describe it adequately, and I don't think I can either, but since I write reviews of every movie I see, I'm going to give it a try.

The movie is described on Wikipedia as a parody of the Star Wars movies and big budget Hollywood flicks in general, set in Dumont's home of coastal northern France.

In what way is it really a parody of anything, though? The only ways in which the movie references Star Wars is that there's footage of spaceships and two of the characters have lightsabres for some reason. I wonder if Lucas has sued them for that yet. If you broke wind right now and it sounded like the opening bars of Imperial March you'd probably get a cease & decease letter in the mail from him tomorrow morning.

Aside from that, the movie does the typical French flick thing of having two utter babes in the cast, and then showing them being pursued and even coupled with some weird looking guys. The two who get the most screentime both kind of look like rats. One of the two looks like a younger version of Splinter from Ninja Turtles. He has rodent-like facial features, and the fact that he is very hairy adds to the effect.

The Splinter-looking guy decapitates a couple of people with his lightsabre for some reason, and the other guy effortlessly seduces one of the babes, saying to her "Regarde!" ("Look!") when he should have told her to "feel", because he grabs her hand and puts it on his groin.

How was this parodic of Hollywood? There was some guy who looked like Barry Humphries as Les Patterson dressed like Harlequin in a flying cathedral saying some things. Was he supposed to be the main bad guy? I also remember a bit toward the end with a bunch of horses gathering. Maybe it was supposed to be like a showdown between the good guys and the bad guys, though I don't know if there really was one... or if the movie really had good guys or bad guys. Hollywood flicks always has those, but French ones don't necessarily.

I don't know. I didn't really get it, but I did kind of enjoy it.

When a film seeks to tackle such distinctive comedic forms as parody, satire or slapstick, the creators first need to make sure that what they're hatching truly works. But, in the case of this latest offering from storied auteur Bruno Dumont, the mark is missed by a wide margin. This alleged take-off on classic space operas like the original "Star Wars" trilogy or "Spaceballs" (1987) simply doesn't cut it, primarily because it just isn't funny. Perhaps that's due to the fact that the filmmaker doesn't seem to be clear on the direction he wants the story to take or the tone with which it's presented. In a nutshell, two alien species - the Ones (champions of good) and Zeroes (disciples of evil) - have been exiled to Earth (why and by whom is never made clear), where they're battling one another to win over the control of humanity through their ground zero strongholds in a small French coastal fishing village. But, in telling this tale, Dumont's paper-thin narrative meanders aimlessly, blending a bland mixture of lame humor (most of which falls positively flat), bombastic but innately shallow soliloquies on the nature of good and evil, unexplained Monty Python-esque absurdist imagery, and gratuitous sexual encounters that appear to be thrown in for little more than titillating filler. To its credit, the picture effectively employs some truly impressive special effects, an eclectic background score based largely on reworked neo-classical arrangements of the compositions of J. S. Bach and Henry Purcell, and a production design that incorporates set designs drawn from Gothic and Renaissance European architecture. It also features a wealth of stunningly gorgeous cinematography, although a number of overlong shots (particularly many inexplicably filmed from too great a distance) could benefit from judicious pruning. So what exactly is the director going for here? Damned if I know. If it's satire, its symbology is seriously undercooked. If it's a campy romp, it's too understated. If it's screwball comedy, the pacing is too sluggish. And if it's insightful social commentary, it's too superficial and doesn't take itself seriously enough. In essence, "The Empire" may offer some segments that are nice to look at, but that's about all, considering that the bulk of this release, in the end, really has nothing interesting, meaningful or piquant to say.

Bruno Dumont's "L'empire" presents a visually stunning journey across northern France, capturing its landscapes-from fields to sea and sand dunes-with tasteful drone shots, alongside the grandeur of the Versailles Palace and the Saint Chapel turned spaceships. The cinematography, marked by beautiful landscapes and great shots, is complemented by impressive special effects and beautifully designed vessels, showcasing Dumont's mastery of his craft and general attention to visual detail.

However, beneath its exquisite exterior, "L'empire" delves into an absurd satire where the forces of good and evil grapple over humanity's fate, centering around a child who embodies all the evil in the world. This premise, while intriguing, unfolds into a narrative filled with empty dialogues and scenes devoid of meaningful content. The storyline offers little in terms of character development, despite the peculiar and endearing cast. This aspect resonated personally with me, as the characters' authenticity and their reminiscent nature of my childhood in this region touched a familiar chord.

Despite its potential, the film's attempt at humor often falls flat, as evidenced during its screening at the Berlinale in a theater filled with over 2000 attendees where laughter was notably scarce. Clocking in at 90 minutes, the movie paradoxically feels much longer, plagued by a lack of substantive material and cringe-worthy moments, that neither the visual beauty nor the quality of the effects could salvage.

The sound design, a tasteful blend of classical and jazz, stands in stark contrast to the unpleasant vocal tones of the higher beings and the screeching sounds in moments of tension, offering some auditory relief amidst the film's broader discord.

Dumont tries to tackle themes of power, grandeur, divine and absolute rulership, drawing parallels between the French monumental legacies and the modern, humbler territories of northern France. However, the film struggles to connect these historical reflections with any tangible influence in contemporary society, rendering the battle between good and evil an abstract and ultimately insubstantial concept.

"L'empire" might aim to convey a deeper meaning through its exploration of historical and modern themes, but it falls short, succumbing to a style-over-substance approach. For those seeking a comedy, this film might not meet expectations, leaving much to be desired in both narrative depth and humor. In the end, "L'empire" remains a visually captivating yet narratively unfulfilling experience, highlighting a missed opportunity to blend its aesthetic achievements with a coherent and engaging story.

I was worried I wouldn't enjoy L'Empire - I had tried to avoid trailers and reviews, but finally gave in a read one which said at one screening many people had left halfway through the film. The images looked grotesque, but I still wanted to give it a go as I really admire Dumont's film l'Humanité and find his mix of professional and non-professional actors sensitive and clever, never humiliating. The film kept me entertained throughout. Dumont's touching look at small french coastal towns stem from his personal experience and history, which makes it all the more authentic. One could say the film is a pastiche of various sci-fi blockbusters (although I must say its way more like Star Wars than Dune) but in truth it felt like it must have been inspired by childhood games in a mostly poor and neglected area of rural northern France that features the entire village as enthusiastic players. On top of that great graphics and effects, and hilarious UFOs made for an amusing, unusual and ulitamtely moving film. I'm pleased I got a chance to see it at the Berlinale - and in my opinion it's a well-deserving winner of a silver bear!