21/17
The script was full of jokes about cancel culture and sexual violence
Tale
A small town in the north of France is the battlefield of undercover alien knights. Adèle Haenel was originally set to star in the film, but she left the project after disagreements with Bruno Dumont over the script. “At first, I thought it seemed very funny: a kind of Luke Skywalker in space. The problem is that behind this funny facade, a dark, sexist and racist world was being defended. I tried to talk about it with Dumont, because I thought a dialogue was possible.
But it is
I wanted to believe for the umpteenth time that it was not intentional. This contempt is deliberate. In the same way that they make fun of victims, of people in a weak position. The intention was to make a science fiction film with an all-white cast and therefore a racist narrative. I didn’t want to support that.” He later retired from the French film industry in 2023.
The plot offers little in terms of character development, despite the quirky and endearing cast
Bruno Dumont’s “L’Empire” presents a visually stunning journey through northern France, capturing its landscapes, from fields to sea to sand dunes, with tasteful drone shots, along with the grandeur of the Palace of Versailles and the Sainte-Chapelle turned into spaceships. The cinematography, marked by gorgeous landscapes and wide shots, is complemented by stunning special effects and beautifully designed vessels, showcasing Dumont’s mastery of his craft and overall attention to visual detail. Beneath its exquisite exterior, however, “L’Empire” delves into an absurdist satire where the forces of good and evil battle for the fate of humanity, centering on a boy who embodies all the evil in the world. This premise, while intriguing, is played out in a narrative filled with empty dialogue and scenes devoid of meaningful content. This aspect struck a chord with me, as the authenticity of the characters and their reminiscent nature of my childhood in this region struck me as familiar.
“L’Empire” might attempt to convey a deeper meaning through its exploration of historical and modern themes, but it falls short, succumbing to a style-over-substance approach
Despite its potential, the film’s attempt at humor often falls flat, as evidenced during its screening at the Berlinale in a packed theater with over 2000 attendees where laughs were noticeably few. Clocking in at 90 minutes, the film paradoxically feels much longer, plagued by a lack of substantial material and cringeworthy moments, which neither visual beauty nor quality of effects could save. The sound design, a tasteful mix of classical music and jazz, contrasts sharply with the unpleasant vocal tones of the higher beings and the grating sounds at moments of tension, offering auditory relief amidst the film’s broader discord. Dumont attempts to address themes of power, grandeur, divine and absolute rule, drawing parallels between French monumental legacies and the modern, more humble territories of northern France. However, the film struggles to connect these historical reflections to any tangible influence on contemporary society, rendering the battle between good and evil an abstract and ultimately insubstantial concept.
For those looking for a comedy, this film may not live up to expectations, as it leaves much to be desired in both narrative depth and humor
In the end, “L’Empire” remains a visually captivating but narratively unsatisfying experience, highlighting a missed opportunity to combine its aesthetic achievements with a coherent and engaging story.