Rumours

Truly good satire needs a razor-sharp edge to succeed, but this latest effort from director Guy Maddin (in collaboration with filmmaking partners Evan and Galen Johnson) falls stunningly flat, resulting in a rambling, unfocused slog that somehow manages to mix messages and symbology that are simultaneously both cryptically understated and patently obvious. Set at a G7 summit in Germany, world leaders from the host country and their American, Canadian, British, French, Italian and Japanese counterparts (along with delegates from the European Union) hold their annual gathering to discuss the state of the world and pat themselves on the back for a self-congratulatory job well done (despite not possessing the requisite skills to accomplish anything meaningful or of substantive consequence other than keeping their nations' respective seats warm). They smile their hollow smiles and make empty though allegedly profound observations about a variety of subjects, all while attempting to craft one of their famous joint statements (position papers that the American president openly admits no one ever reads). In this case, the communique is meant to address some kind of undefined global crisis, but it appears to be one with apocalyptic overtones. But, in the course of their "work" - an undertaking for which they're far from qualified - they quickly find themselves in over their heads when the infrastructure around them begins to crumble, a circumstance made more ominous by the appearance of inexplicable apparitions and zombie-like bog creatures straight out of classic folklore and middle European fairy tales. One might think that this would make for an interesting premise in telling a surrealistically satirical fable about the state of contemporary world politics, but the execution here is so poorly carried off that it ends up amounting to little more than oh so much intellectual and symbolic masturbation (depicted here a little too literally and repetitive at that). To complicate matters, the narrative incorporates countless developments that go wholly unexplained, some of which presumably have to do with the symbolic emasculation of a prevailing patriarchal world in favor of an emerging female-directed paradigm, but others of which are just so enigmatically absurd that they defy description, explanation or purpose (there's more of that masturbation again, only this time reflected in the nature of the picture's screenplay elements). The overall result is a mess of a movie that, despite its gifted ensemble cast and atmospheric cinematography and production design, just doesn't work, especially since the insights it's trying to impart aren't particularly new, revelatory or funny. We're well aware of how inept many of the world's supposedly astute leaders are these days, including the fact that they're cluelessly engaged in little more than what amounts to unconscious acts of that aforementioned "self-love" (and self-aggrandizing ones at that), but do we really need a movie to remind us of that (especially one as shabbily made as this)? No thanks. If I were you, I'd duck out of this one and see what else is playing at the multiplex (or, better yet, skip it altogether).

I was really looking forward to watching Rumours since the premise seemed original and the trailer looked fun without giving away too much. I still enjoy zombie movies, even though there are countless examples in the genre, because with some talent and unique ideas, they can still be great.

In this film, the leaders of the seven wealthiest liberal democracies are having their annual G7 meeting in a gazebo, while something strange begins happening in the world, with zombie-like creatures appearing in the woods. The movie is a satire and heavily dialogue-driven, which I didn't mind, and the bits of humor sprinkled throughout felt like a fitting touch.

However, as the movie progresses, nothing significant really happens. The characters interact and speculate about what might be going on, but there's no real climax. It's mostly talking and walking through dark woods with little action. Occasionally, the zombies or "Bog People Dancers" as they are credited appear in the distance, but they don't pose any real threat.

I understand what the movie is trying to achieve, but it's simply not entertaining and definitely doesn't warrant a 104-minute runtime. The acting was fine, though the inconsistent accents were noticeable but not overly distracting, but still worth mentioning.

Overall, I was pretty disappointed. While there might be a small niche audience that enjoys Rumours, the majority likely won't find it engaging. [4,7/10]

Buñuel's movies might be lacking some zombies (at least I don't recall their presence). But IMHO they're much more to the point when it comes to avant-garde surrealism infused with political commentary. For artful, unconventional, surrealist and political satirical films, Buñuel is probably still the bench mark.

I'd strongly suggest that rather spending your time and money on the quite boring 'Rumours', you try to get your hands on VHS or Disc copy of Buñuel's first movie 'Un Chien Andalou' (The Andalusian Dog) from 1929, an unprecedented collaboration with Salvador Dalí. Or enjoy some of his classics such as 'The Discreet Charm of the Bourgeoisie' (1972) or 'That Obscure Object of Desire' (1977).

Rumours is a surreal, unsettling film that explores the impact of misinformation and societal control filled with dark metaphors, reflects on how power and propaganda can manipulate society, leaving people disoriented and distrustful.

Rumours is a dark, witty political satire with a sharp edge, leaning more into social commentary than typical horror or zombie fare.

It's a twisted comedy that highlights the darker side of our reality -where the "zombies" are actually us, the mindless followers.

Unlike the predictable Hollywood comedy, Rumours delivers biting humor through simple clever dialogue and surreal moments.

Lines like: "You see his pen*s has been severed and hung around his neck.

Sounds like a man to me."

"- Germany caught up into Dramatics. We've seen this before."

"- who is the best swimmer?

Italy: i only can go backwards."

The Huge Brain: symbolizes control over collective knowledge.

The giant brain is a central metaphor representing the source of societal knowledge and collective consciousness. It symbolizes the institutions or entities that control information-potentially a government, media conglomerate, or collective societal mindset. The brain serves as both a keeper of "truth" and a gatekeeper that decides what information reaches the public, emphasizing the idea that whoever controls information holds significant power over people's beliefs and actions.

Where Celestine's connection with the brain leads to an ambiguous fate, symbolizes the dangers and consequences of challenging established systems. Celestine's unique ability to communicate with the brain represents an individual's search for truth in a world clouded by lies, Her fate implies that those who dare to confront the powerful structures behind misinformation or societal manipulation may face suppression or retaliation.

Zombie-like Figures act as eerie representations of the manipulated public,Theys represent society's suppressed or marginalized voices, mindlessly manipulated by higher powers. They are symbolic of how people can be controlled or made to act against their own interests through fear or manipulation.

Rumours can be difficult to watch due to its heavy-handed symbolism and disorienting scenes.

Ending raises important questions about if exposing the truth can truly liberate society or if it merely makes the individual more vulnerable to those in control and how society interprets information and who controls that narrative.

For someone who is a bit behind on Guy Maddin (and yes, that "someone" is me), Rumours is probably a bad place to begin. It also makes sense, as this is a lot more accessible than his prior catalog of silent films (a phrase I am comfortable using without the addition of "tribute" or "pastiche", because they're just that faithful to how silent cinema used to look), so I'm definitely not alone in starting here -- though I may have lost some cinephile cred in admitting this.

Regardless of how well you know your Maddin, this is certainly a movie with a lot of personality. It's hard to compare to any other film released this or any other year -- although I'm tempted to name one particular sequence "a better adaptation of Color Out of Space than the actual Color Out of Space movie".

Every location contains strange colors and magical mists; the music choices are bizarre to the point of idiosyncratic brilliance; the characters -- from the inexplicably British US president (Charles Dance) to the Swedish Secretary General (Alicia Vikander) who knows the forest's secrets -- are delightfully odd, but sometimes irritatingly unintelligible. (Cate Blanchett's performance, which has been described as an impression of Sandra Hüller doing an impression of Princess Diana, is particularly bemusing.)

It is also a pretty funny movie. For a while, at least. It loses some of its steam and satirical edge in the second half, seemingly getting bored of itself. Regardless, I am eager to check out more of this man's catalog and deeply ashamed that I have not.