There is a bizarre grotesque caricature close up art style it pulls off well with the fixed portrait faces of it's characters which is the focus of the film because I kept forgetting it was a dystopia where the postman still delivers the mail and the bin men empty the trash. Maybe this place just needs to get sponsored by a charity?! Mix in some quirky moments and Jeunet has found his permanent film making style.
Post apocalyptic deliciousness, a feast for the senses, the cinematography and the gorgeous subdued colours make it visually stunning and the sound effects are an aural delight. No sound is left imagined, every creak of shoe, drip of water, sharpening of knives…is intensely magnified causing untold eargasms. One moment you’re aghast and the next you’re laughing raucously at the antics of these crazy, crazy people.
I'm not really ABOUT the French existentialism the movie gives every fiber of its being for. But the theory surrounding the rise of sound in place of an eye that becomes useless in a dark desert landscape is intriguing. It's deeper than 'A Quiet Place' in that it actually expresses the tenuous balance between loud and quiet, and the irony in how sound may be used to shut out people BECAUSE one's stuck with them.
When you look at the root of evil there are signs along the way. A certain stylishness is forced upon you in the service of story, and you have to admit that it's a visual feast. Who knew that this would eventually spawn that monstrosity of twee, 'Amelie'? Now I look back and wonder, "Was it really worth it in the end?"
Typical delightul post-apocalyptical story happening in a dystopical world. In a famished society, values are inverted and cannibalism's taken place into the madness of a building, whilst a love story's taken place with two of the inhabitants. A masterpiece.
3.8 stars. Yes, it's in colossally bad taste and kitschy where it intends, I think, to be phantasmagorical and grotesque. However, it gave my teenage brain indelible images to chew over and, curiously, cemented my vegetarian convictions! It doesn't feel disingenuous, which strikes me as the fatal flaw in Jeunet's later work. It's not a film that I feel the need to return to however. I watched it at the right time.
as warm and whimsical as it is cold and dark. the climax of the film for me is the moment when all the tenants' daily activities sync up into a sort of musical harmony, matching pace with the super of the complex, a domineering- cannibalistic butcher- the tempo picking up speed until finally all those little vignettes collapse or explode under the strain..
44/100 (Sizin bu ikinci yarıyı çeken aklınızı s.keyim aq salakları. ANLAYIN LAN ARTIK ANLAYIN. İLK YARISI REALİST OLAN BİR FİLMİN İKİNCİ YARISI ABSÜRT O LA MAZ. Aptal insan anlar ama şu sinema dünyası anlamadı yahu. Hayatımda izlediğim en berbat ikinci yarıydı. Ne mantıkla ne beyinle çektiniz. O yeraltı örgüt ne alaka, banyoyu suyla doldurma nedir, banyonun çökmesi ne, beynine bıçak giren adamın konuşması ne. mallar)