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Director Jean-Pierre Jeunet's latest film, Micmacs, has one foot planted firmly in the French auteur's world of weirdness and wonder that we've come to love in films like Delicatessen, The City of Lost Children, and Amelie. The other foot, however, falls in a world of political intrigue and big business, albeit one of exaggerated figures full of hot air and an intricate but silly crime caper.
In Micmacs, Bazil (Dany Boon) finds himself jobless and homeless after getting shot in the head; he finds refuge with a group of odd characters who live in an underground cave full of clockwork trinkets and other fabulous things. Unfortunately, this isn't Bazil's first experience with violence; when he was a wee thing, his father was blown up by a mine in the Moroccan desert. When he finds out that rival companies made the bullet in his head and the mine that killed his father, he decides it's time to get revenge on both of them. His underground friends—Slammer, Buster, Remington, Calculator, Tiny Pete, Mama Chow, and Elastic Girl—help out in their own special ways. This talented band of misfits takes on arms manufacturers and their pompous owners with silly and sweet results.
And, in case you were wondering, the word "micmacs" more or less translates to "shenanigans."
TribecaFilm.com: Micmacs seems like a more political, straightforward movie than some of your previous films. Can you talk about the story and what inspired it?
We were working during the editing of The City of Lost Children just beside the "Marcel Dassault" weapons ships. They gave me the inspiration. The whole reaction of the French newspaper Le Figaro [which] hated the film [The City of Lost Children]... Le Figaro's owner is... Marcel Dassault...
TribecaFilm.com: Micmacs actually has some scenes that are straight out of your other movies. I'm assuming this is deliberate, and it's something fans of yours will love. I haven't noticed it in your other films, though—is this something that's special to Micmacs?
TribecaFilm.com: What's the biggest thing you learned while making this film?
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