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Comedy • 1967 • 1 hr 55 min
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User Reviews
Love when comedy relies heavily on prroduction design.
Odd to watch a beautifully stylish critique of modernity once that era has passed into golden nostalgia of an age we long to merely glimpse.
It's like watching an painting that moves and makes cutting jokes. Then you get to the restaurant.
If you can ignore that this is basically just one joke for the entire runtime, and that it barely has a plot other than that, it’s alright.
Kind of miraculous that this was even made. There are two or three jokes in each frame.
Do you like looking for Easter eggs? This movie is an Easter egg in itself. Its a rare gem of comedy
An incredible set design paired with phenomenal staging and minimal dialogue make this movie a comedic classic.
Visually stunning, smart and original. One of the best films Tati made. A true gem.
Little plot & even less dialogue is a testament to Tati’s directing to make this engaging, yet charmingly unhinged film satirizing modernism
It’s a savage critique of modernist architecture and design disguised as a physical comedy.
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Genial, bumbling Monsieur Hulot loves his top-floor apartment in a grimy corner of the city, and cannot fathom why his sister's family has moved to the suburbs. Their house is an ultra-modern nightmare, which Hulot only visits for the sake of stealing away his rambunctious young nephew. Hulot's sister, however, wants to win him over to her new way of life, and conspires to set him up with a wife and job.
Michel takes up pickpocketing on a lark and is arrested soon after. His mother dies shortly after his release, and despite the objections of his only friend, Jacques, and his mother's neighbor Jeanne, Michel teams up with a couple of petty thieves in order to improve his craft. With a police inspector keeping an eye on him, Michel also tries to get a straight job, but the temptation to steal is hard to resist.
This fiction-documentary hybrid uses a sensational real-life event—the arrest of a young man on charges that he fraudulently impersonated the well-known filmmaker Mohsen Makhmalbaf—as the basis for a stunning, multilayered investigation into movies, identity, artistic creation, and existence, in which the real people from the case play themselves.
