Le bunker de la dernière rafale

It's only a short film. And it has music, contrary to a commentator. A strange music, typical for this genre. It does not have a dialogue indeed, only now and then we hear a voice that communicates something in an unknown language. And no women! No woman, no cry! Only men, all the heads shaved. And all soldiers in uniform, of an unknown army. Waiting for something big to happen, there is a countdown... Many of them with gas masks on their face. They all manage how they can best inside a bunker. Extremely solidary one with each other. Example: one of them is helped to feed himself by another and then shot in the head by the same good comrade. Probably, as in a Jewish kibbutz, a Russian-Soviet sovkhoz or kolkhoz, or a German or Japanese concentration camp. Joking not joking, it made me think of "The Desert of the Tartars"(1976)Il deserto dei tartari (original title), Valerio Zurlini's film after Dino Buzzati's novel. And to Hitler's last days together with those close to him, in that bunker in Berlin. And to those Japanese soldiers who continued to fight on isolated islands, long after WW2 was over. Very well done, the films of Marc Caro and Jean-Pierre Jeunet got something very special, a unique, somehow kafkian atmosphere, which captivates me. Great filmmakers!

Visually intriguing, logically confounding. After viewing _Bunker_ twice, I've yet to make any sense of the plot. It seems to be a psychological commentary on the causes of madness, using an isolated military brigade as a subject group. Beyond that, your guess is as good as mine as to what's going on. Perhaps that is the intent--that we be dragged into this bizarre, nonsensical madhouse with no real grasp of stability. If so, mission accomplished.

The cinematic style is compelling. It's very Metropolis-esquire (haha IMDb's auto-spell-checker keeps changing E-S-Q-U-E to ESQUIRE... sorry folks) with Jeunet/Caro's own brand of macabre sarcasm thrown in. Fans of Jeunet/Caro will recognize certain raw images and a few sound effects that will reappear in _City of Lost Children_. Everyone else will probably be irritated and possibly incensed to violent madness themselves. They may throw mashed potatoes at you.

Note: there is no dialogue and no music. So you really need to work hard to keep up. If you make it through the entire film with some sense of understanding, please comment and let me know what the @#% is going on.

A compelling 25 minute short film about a group of soldiers locked inside a concrete bunker and the ensuing madness that follows from being locked there for an unspecified amount of time. They send distress signals to the outside world but there doesn't seem to by anyone left to reply. They might as well be the last survivors of some final war. There's a cold clinical almost mechanical look to the film which is tinted ghoulish green like a silent film and Jeunet displays not only a remarkable grasp of cinematic language, sustaining interest with an almost nonexistent storyline and no dialogues through an interesting shot selection, but also of style and atmosphere. The movie ultimately descends into chaos and with it loses that sense of foreboding mystery that makes the first half so good, but it's still a compelling watch.

I was hopeful when I saw this short film before a screening of "Delicatessen," but frankly it left me cold and confused. There are some creative costumes, sets and sounds, but in the end "The Bunker" is little more than an experiment in bleakness, like Lynch's "Eraserhead." There's very little dialogue, color, or narrative to follow, but fans of Jeunet and Caro will recognize some of the retro-futuristic devices and effects -- many are revisited in the far more polished and fun "City of Lost Children."

In a post-apocalyptic world a group of soldiers live in a concrete bunker. As far as they know, they could be the last men on the planet. One day one of them finds a mysterious machine with a counter set to 99999. An accident triggers the device to start counting down towards zero. This leads to paranoia within the base and the men soon start killing one and other.

The Bunker of the Last Gunshots is basically a very early example of the work of directors Jean-Pierre Jeunot and Marc Caro. It shares some of the hallmarks of the two 90's films that brought them to prominence – Delicatessen and The City of the Lost Children. Like those two this one is set in a future world where something unspecified has gone wrong. It also shares the retro-futuristic décor and devices. It's consistently interesting visually, with considerable care taken with the set-design as well as the costumes. The colour palette is limited to mainly green monochrome, which gives off an appropriate gloomy atmosphere. The story isn't very easy to interpret seeing as it is told with no dialogue but the sound design otherwise is very inventive, with a variety of strange noises used throughout. As a result, this is a much more experimental piece that the 90's feature films Jeunot and Caro are most famous for. But it is an interesting bit of work and is sure to be of value especially to fans of these directors.