Micmacs

Do the events that comprise the bulk of Micmacs actually happen or are they merely the imaginings of a dying man? There are certainly indications that it could be the former: the transition from the end credits of The Big Sleep to the opening credits of Micmacs itself; the noticeable shift to a distinctly more stylized world; and the sudden emergence of the typical Jeunet quirky humour. Either way, the film's a paean to comradeship, cooperation and the power of the imagination. The bunch of eccentrics who adopt Bazil (jobless, homeless and with a bullet lodged in his brain) exude a warmth and humanity distinctly lacking in "normal" society, especially the two rival arms dealers responsible for Bazil's woes. They are arrogant, selfish, paranoid and completely unscrupulous. The film also manages some direct hits against Sarkozy's government. He's never named but that's him with De Fenouollet in the photo that has pride of place on the arms dealer's desk, while Marconi is rumoured to be having an affair with the Prime Minister's wife. All of which is encased in a proliferation of sight gags, a delight in mime, and a production design bursting at the seams. It's probably not to everyone's taste but at least it's not as toe-curlingly twee as Amelie thank heavens.