Nine years after his last foray into the cinema, the long-awaited return of Jean-Pierre Jeunet , director of the famous A Long Engagement Sunday or The Fabulous Destiny of Amélie Poulain , is therefore via Netflix . And as its title suggests, the career of the filmmaker now has everything of a BigBug .

He who loves well punishes well, it seems. Often regarded with disdain by an intelligentsia who referred his creations to vulgar visual tics, designating him with snobbery as an advertising or clipesque director , he was also entitled to a few trials in acute Pétaino-reactionïte in the time of Amélie Poulain .

Massive public support for his achievements did not go so far as to support his most ambitious (and successful) project, the misunderstood The Extravagant Voyage of the young and prodigious TS Spivet , while hardly anyone in France Interested in the non-fate to one of the most exciting form-makers in practice.

Indeed, if the cinema of Jeunet has always looked at the past with greed, it has never wallowed in it. When the filmmaker revisited past aesthetic canons, in Delicatessen , The City of Lost Children or even A Long Engagement Sunday , he never sought to recreate a gesture or an atmosphere of yesteryear, but rather to combine these heritages with technological clearings bold, implausibly playful formal experimentations . This position of the big gap, that of a prospective archaeologist, is precisely what is lacking in BigBug , his new film hosted by Netflix.

It will be understood, it is a question here of sharply criticizing our dependence on technology , our various addictions to oppressive algorithms, as well as the soft hygienism which would result from it.

Here, everything is vulgarity and ruin of the soul, seems to want to hit us with Jeunet. In contact with their androids and their oh-so-comfortable techno-cocoon, humans are no more than a bunch of slight morons, literally dogs that their cybernetic masters barely deign to let urinate between two projections, when they are not reduced to the state of pure cattle.

This Manichean, simplistic look augurs a total reversal of the author’s position.know how to film the thing.

This is perhaps where lies the biggest shock of BigBug , as the show spread out before our eyes contrasts with the excellence that was the mark of its author. Mass grave of the imagination and aesthetic pit, the image scratches the lens of the innocent spectator by dint of unworthy overlays, flashy digital grafts, repetitive shots, sometimes coarse editing effects.

After nine years without directing a feature film, one could understand that Jeunet, who explains that he went out of his way to get BigBug released in theaters, had trouble raising a budget to match his ambitions. But it’s the overall artistic direction that is the bitterest pill in terms of visual ambitions.

Worse, the idea of ​​revisiting the fantasy of the futurologists of the 60s was on paper very exciting, but the fragility of the whole and its immoderate taste for crude In the middle of this plasticized desolation float painfully Claude Perron and the formidable Einstein, the only ingredients around which Jeunet’s camera finds a little energy, suddenly succeeding in uniting organic performance, ingenious craftsmanship and creative cutting.

not ooze deep contempt towards everyone. The androids are not treated much better , we quickly wonder what we are doing there, just like the actors , obviously distraught by a text that would give Jean Roucas a headache.

From then on, this series of sketches, most often disjointed, can only follow the tracks that he himself laid down. Those of a boulevard comedy such as the Geneva Convention has limited its production, thick, bitter, a sort of consensual catch-all already seen a thousand times, which confuses inventiveness and scribbling, satire and caricature, energy and hysteria . Let’s hope that after this almost total failure, Jean-Pierre Jeunet will be able to set in motion new projects, commensurate with his ambition and his experience.

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By D14N