[CRITICAL] APNEA

When the troop of Dogs of Navarre and their director Jean-Christophe Meurisse seize the film, which results in APNEA, a movie-mad on the trials and tribulations of a trouple in a society that is absurdly standard. A burlesque comedy and insolent that titillates our cheekbones.

Céline, Max and Thomas (Céline Fuhrer, Thomas Scimeca, Maxence Tual) love. They want to get married to seal their love. Make it as all the world in sum. The problem is that a marriage to three it does not exist. Not yet. The mayor eventually gets angry at their insistence : And I, you believe that it is my life ? Look at the head of my child !“. These three characters in search of happiness living on the margins of society, not working and still struggling to find housing. They settled even in the window of a store of sanitary and remake the world in a bathtub before the gaze of all passers-by. A scene later, they visit a 18m2 to 1250€ per month. “There is everything to imagine for sure !“ said the estate agent.

However, it is not for lack of trying to clear a path, hang up the standard. They even go so far as to meet with a banker to request a loan to open a theme park stakhanoviste to side of the Marne Valley. “The competition is going to be rough, right ?“. Do their rest while the option hold-up. Their road movie can begin and all three depart to the edge of their quad, in the direction of the sea, before placing their camp in a house in ruins.

Difficult to tell APNEA whose story of adventures is absolutely not linear. It looks more like a series of paintings that brings the trio untamed to situations more and more absurd. The more they try to live the standards of the society, the more they drift away in spite of themselves, pointing out cleverly that the absurdity is not necessarily where one expects it. The film is full of replicas beautifully cruel on the dysfunction of a certain order is established (and agreed upon) and gradually switches to a utopia poetical baroque.

“APNEA is a comedy insolent and crazy, but to force us to snorkel, you eventually go up a little too fast.“

Some scenes are absolutely hilarious like the one where Thomas, in a training session in Pole employment, must learn to present yourself well during a job interview. Or the scene of the meal where the three lovers are encrusted, literally in people to simulate a family meal. Olivier Saladin and Claire Nadeau are great and give rise to a moment of comedy and jubilant. All the dialogues of the film are the result of a long series of improvisations, which served as material for the writing of the film. Jean-Christophe Meurisse looking through improvisation to better capture the real, the fragility of beings, which binds and unbinds “for real“.

This may be one of the explanations of the weaknesses of the film, which is written as, and lacking a bit of cement between the “sketches“. Suddenly, we laugh a lot but it gets boring sometimes. We would like to be embedded in this sweet madness, running through the aisles of a supermarket and meet an ostrich, deliver Christ from his cross and put on the knees of Claire Nadeau, but we wish we had sometimes the feeling of being left aside in this disorder. A force to want us to snorkel, you eventually go up a little too quickly.

Anne Laure Farges

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