L'Empire

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.

Its really bad, I dont how they were casted, but the only 2 to deliver lines convincingly were the 2 young girls, who also were in other good movies (monte cristo, novembre...) the rest was insanely bad... the script is just as bad, with minutes wasted on takes that drags the movie on making it boring and a pain to watch. I usually dont waste my time on this type of crap, it was one actress that caught my attention, also its a french movie so I make an extra bit effort to watch it even if it is not rated too high. But this is bad... bad enough to make me write a review 😂 I will also review a movie if it is really good, at the extremes.

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.

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.

Its good or its bad. Its meandering or its fun. Mostly i watched this for the cinematography and the weirdness. It did not disappoint. Although the story is somewhat lacking, its kind of there if you give it enough chances.

Is this movie for everyone? No. But if you're a fan of weird french scifi like kamikaze 1986, la jetee, city of lost children, delicatessen etc... well this kind of fits right in there.

Good vs evil. Aliens vs more aliens. At 2 hours it is a bit too stretched out. Feeling a bit tired and bored by the end. And then the ending, woo. Well. Subvert your expectations because , subversion!

I thought the film had some good ideas. But fell flat on others. You probably wont like it.