Keep an Eye Out Is Classic Movie To Watch

“Keep an Eye Out ” is the last follish lark by Quentin Dupieux, whose ” Rubber ” — about a series of execute committed by a sensitive car tire – is one of my favorite follish larks of the present century. Called “ On The Post !”in his native France, “Keep an Eye Out” takes place (apart from the flashbacks) exclusively in a police station, where Louis Fuguain (Gregor does not let up!) a statement in which the chief inspector Buron (Benoit Poelvoorde). It seems that Fuguain found a body outside his building, and since he turned out to be a execute victim, Fuguain must be acquitted as a possible doubtful. He is upset because it is after at night and he has never seen a corpse before. “If it was her first body, how did you know she was dead ?”Asks Buron. Fuguain said: “I have seen many living people, and I have compared it.”

What follows is best described (by me anyway; maybe you can do better) as a series of comic skits involving a fixed set of characters and pushing a unified narrative. The basic conflict of the mega-sketch is that Fuguain wants to complete this and go home, while Buron just walks at a calm pace. Then someone else accidentally dies while Buron is out of the room, and for fear of being doubtfuled, hides the corpse in a locker, which even more causes him to quickly finish the interrogation, while I add the gags that I hid a body in this room (improvised distractions, a nervous guy trying to be nonchalant, etc.).

While all this is being played, we are entitled to mini-skits with these characters. There’s a second COP, Philippe (Marc Fraize), a docile and obedient aspirant who misses an eye and “actually” says a lot; you can imagine him appearing on “SNL” through four seasons. When Buron shares a personal anecdote, you see it in retrospect — just like Fuguain commenting on it, which leads to a discussion with Buron, who is jealous of not seeing it when Fuguain tells stories. When Buron has a cigarette, smoke seeps into his chest, a condition He treats as normal, while runaways panic. And so on and so on.

There are a lot of follish pleasures in these mini-sons,from wordplay to slapstick and vice versa, all with a touch of devoted madness. It could hardly be more in my alley, even if it ends like many skits: with a last comic note, followed by an exit, because Dupieux could not think of a good ending. But the movie starts with a man in a little swimsuit leading a symphony orchestra through a field before being chased by the police, so I don’t know what they’re complaining about.

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