Jumbo

Zoé Wittock has not chosen the easy way for her first feature film. A movie about a cleaning lady falling in love with an amusement park attraction: it sounds like a bad joke. But in fact, Wittock takes it quite seriously. The film is appealing because of the way she tells the story: the love affair is not shown in a problematic or laughable way. It's just a little bit different and out of the ordinary, that's all. The other good thing about this film is the lead actress. Noémie Merlant is excellent as the shy girl Jeanne, who is happier in the company of a colourful machine than when she is spending time with other humans. Those who have seen her as the painter in 'Portrait d'une jeune fille en feu' will admire her versatility even more. The strange relationship between woman and machine is shown in some very good scenes, one of which, suggesting even sexual emotions, really stands out for its creativity. The flip side is that, apart from the subject matter and the lead actress, there is not so much special about the film. The other characters are not well developed, the story is rather thin, and the ending feels a bit contrived. This is a nice little movie, with a healthy dose of weirdness. But one unusual idea is not enough to carry a whole film.

Credit here to the director and the cast with their commitment to following through on this premiss and its relatively happy conclusion.

Definite echoes of Under The Skin at times and presumably allegorical with pleas for acceptance - really enjoyable.

Credits start with inspired by a true story, but never explained what was the "true" part. But, in special features it's explained that one inspiration is about people who fall in love with inanimate objects. Anyway, a young woman possibly with a developmental disorder or more likely Objectophilia (in many cases results in marriage) falls in love with an amusement park ride. A question for the viewer is what are the boundaries of love. Does she fantasize a personal bond or does the ride have a human level consciousness?

Beautiful film. A metaphor for all types of human conditions, which opened eyes and questions. A subtle piece of writing (& directing) and told by a talented cast. I really like it.

The premise is very curious, to say the least. I assume this is what draws most people into watching, though in fairness, after seeing Noémie Merlant's breakout performance in 'Portrait of a lady on fire' I trust her implicitly. Despite the quirkiness of the central conceit, however, there are wonderful depths to 'Jumbo' well exceeding what I ever could have imagined before watching. We're initially greeted with airs of a modern indie romantic comedy-drama before the primary notion - protagonist Jeanne falling in love with an amusement park attraction - is introduced surprisingly early and rather brusquely. Yet that shift is curt only to make room for the meaningful substance to follow. There are familiar elements in the narrative: an introverted and misunderstood young woman who herself doesn't fully understand what she's going through, less so because she has no frame of reference; a mother who loves fiercely but who has no filter. We see the failure or refusal of parents, or those of an older generation, to understand youths, and especially who and how they love, or to love unconditionally; the obnoxiousness and callous cruelty of others, whether strangers or loved ones; the piercing barbs of suggested mental illness at the first hint of nonconformity. That the recognizable narrative dynamics of romance are applied to a story of objectophilia is a very interesting idea; that filmmaker Zoé Wittock also infuses an artfulness gladly recalling in some measure Julia Ducournau's 'Titane,' or even more relevantly Natasha Kermani's direly underappreciated 'Imitation girl?' Well, I for one could hardly be more pleased. Simply put, this is superb, and much better than I'd ever have assumed sights unseen.

The premise could have been taken in any direction, and not knowing anything about it otherwise - not even the cast - I rather anticipated a straight comedy of some variety that would play it up for laughs, and probably punch down. I'm so very happy that Wittock approached the story with utmost heartfelt sincerity, exploring the concept and underlying themes as fully as she could. Honestly, the screenplay is outstanding, overflowing with real, meaningful dialogue, characters, and scene writing; the narrative is deeply engrossing and impactful in a way that countless films of a more conventional slant often fail to achieve. This may only be Wittock's first full-length feature as writer or director, yet she demonstrates impeccable skill and intelligence in shaping it well beyond what her relative inexperience portends. I would stop short of saying this is perfect, as the writing is a little heavy-handed at points (one major example being how Hubert is written), and the ending feels a little off-key compared to the tone and flow that 'Jumbo' had otherwise been fostering all along. Yet by and large this is conjured and crafted with supreme love, care, and earnestness, and the end result speaks for itself. Why, emphasizing the point: with every role she has taken on Merlant proves herself time and again, but next to 'Portrait of a lady on fire,' this might genuinely be the best performance she's given yet. Merlant demonstrates tremendous range, nuance, and emotional depth in her portrayal of Jeanne, and she arguably does even more than Wittock to make this the stirring, significant picture that it is.

And of course this is well made in every other capacity, as one should expect of most any movie. Emmanuelle Bercot definitely stands out with her strong supporting performance as fiery mother Margarette, which is hardly to discount other cast members like Sam Louwyck or Bastien Bouillon. Thomas Roussel's original music mostly sticks to the background but lends to the mood at any given time and is easy on the ears; the select few songs on the soundtrack are themselves a joy. The costume design, hair, and makeup are lovely, and cheers to whomever was operating the amusement park ride as scenes required; the lighting, and those effects that are employed, look fantastic. Thomas Buelens' cinematography and Thomas Fernandez's editing are able and sharp in helping to construct the film as we see it. And so on, and so on. Again, however, I think it's beyond question that top marks here go to Wittock as both director and especially writer, and to Merlant for an incredible show of acting that further cements her deserved reputation. I hope for more great things to come Merlant's way, and after watching this, I very much look forward to seeing what Wittock does next. It bears repeating that 'Jumbo' isn't entirely perfect, but the strength it can claim handily outweighs the criticisms that I think one can make of it. I didn't expect much going in, and I'm kind of blown away at just how very good it ultimately is. I can understand how such a title won't appeal to all, but this boasts a level of quality that supersedes personal preferences as far as I'm concerned. 'Jumbo' is a delight of a dark horse, and for my money this is well worth checking out if you have the chance!