L'empire

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.

Bruno Dumont's blend of avant-garde and drama is interesting as I have enjoyed his works in the past. Unfortunately, his recent films haven't been impressive and The Empire is his worst film to date.

Dumont explores a satirical sci-fi tale about the world and people. Despite the great usages of VFX, camerawork and some really interesting concepts, what falls flat is the bad writing, really unlikeable characters and bland approach. Dumont fails to understand to balance between the sci-fi concepts and satirical avant-garde approach properly. What could have been an interesting tale ends up being dull because the characters are underwritten and the writing suffers from having concepts that don't work well and moments feeling as if nothing was happening. It doesn't have that hard punch to what Dumont is wanting.

Alongside with some of the dialogue being awkward and poor, it's pacing and themes are uneven. It felt like as if Dumont saw Dune and decides to make his version of it, but not understanding how to develop the characters or make it interesting.

It's a disappointment.

TLDR: Don't waste your time unless you often find trite tasteless sexist jokes (for both sexes) extremely funny and original.

I don't know what I am more shocked and appalled at: how the director got such a budget for this piece of crap or that it was actually shown on a film festival (Berlinale) AND it is in the Main competition category. Blows my mind.

The movie's plot is a pretty clear allegory for the supposed ^battle of the sexes^. Also supposed to be a comedy. A parody. I have one memory of the crowd actually laughing out loud at something in this movie. So well, a very successful comedy it wasn't.

For a brief moment I thought it might be more than that - like for example satire of French teenage villagers and their forming worldviews. The Goths against the Mainstreams. Or something of this kind - slightly more fun. No. It is as banal and onedimensional as it looks - from start to finish.

Men's team is the monarchy represented by machos who grope women but also all women love them. Women's team are democratic warriors fighting for equality and solidarity but who also get emotionally attached to machos instantly.

Other than establishing such novelty cliches, the movie does literally nothing else. Oh, there is a joke about French police being useless. That was funny for a moment. But then it also quickly got boring and repetitive.

I am giving it more than one point because it is possible to sit through the movie without wanting to hurt yourself. Although on a side note, I watched it in the cinema and the extremely loud screechy music and sounds (which are so on purpose, I think) made me often have to tone it all down by covering my ears.

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 ...

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.