You can call French auteur Bruno Dumont many things: profound, pretentious, visionary, a master of rural poverty porn, an iconoclast of contemporary arthouse cinema, an overrated bore. One thing you can’t call him is unoriginal.
Every Dumont movie is a new experiment — sometimes fascinating, sometimes infuriating, oftentimes both at once. His previous feature, The Empire, was, of all things, a Star Wars spoof filled with sex, snarky humor and tons of CGI, including a Gothic cathedral that transformed into a spaceship. Few people wound up seeing it, but those who did are unlikely to forget it (that is, if they stayed till the end).
Red Rocks
The Bottom Line
Arthouse for tots.
