Rumours (2024)

Rumours-(2024)
Rumours (2024)

Guy Maddin constructs his films with a lot of imagination which always makes them wonderfully one-of-a-kind, and it can be seen in works like Brand Upon the Brain! and My Winnipeg which are driven by seemingly personal interests. Roger claimed: “You should experience the works of Guy Mannin,” which, if you love movies deeply, then you will know what he means. Therefore, when watching his most recent film, “Rumours,” which premiered at Cannes, I had expectations based on the incredible work he had done before.

To me, this feels a bit minor but in his filmography, it still is, as Roger would recommend. There is a chance for the inspired Maddin to shine more captivatingly than he is currently. With that being said, this was undeniably great as well. To put it nicely, the acting was topnotch and it made me think how for what was perceived as hilarious criticism of Progressive politics, the movie was simply brilliant. The film kept it too easy, but I guess that was the direction the creator was going for. Instead of engaging deeply with the complexities of the situation presented, it took pleasure in laughing at the problem. Although, if I am being fair, more than once chuckle was displayed. Indeed, the film was always intelligently humorous and entertaining, which is all it has to be.

Evan Johnson argues that it is a collaborative effort between Maddin, Galen Johnson, and himself. Johnson places this world-breaking fiction somewhere at the junction of “The End”, World War Three, Lawrence of Arabia, and Powers of Ten. The other seven players at the G7 meeting have to come to some agreement about the nonexistent cataclysm in a statement that is obviously not very helpful to anyone, so they retreat into a gazebo in the woods. The upside-down castle which any of them imagined they would spend their vacation in is not there at all, and it only gets further off the deep end from there. What I find enigmatic even now is the emergence of ancient, zombieesque men from the ground and a car-sized brain in the woods. But my primary concern is, among other things, whether I am ever supposed to understand this. Most of it boils down to tossing inept leaders into difficult situations and observing the uncomfortable effusion of relatively weak characters and a rather superficial approach toward the world that results.

Maddin has assembled yet another top tier cast under his helm, with Cate Blanchett playing Hilda Orlmann, the German Chancellor. A master of the bunch – I do not need to elaborate, it is Cate Blanchett Hilda understands not only when to flash a smile on the media and turn to her charming self, but also knows when to take the mantle when things get super serious later in the evening. Strangely enough, the French Canadian prime minister turns out to be the one in charge (Maddin has his favorites), Maxime Laplace, whose worried face is because he has a problem back home which, if not dealt with, may make him lose his position.

Impossibly gorgeous and interesting Roy Dupuis perfectly assimilates into the role. Not to be left out, most members of G7 seem to get their share of chuckles, starting from Italy’s hide man, Antonio Lamorle, who is Rolando Ravello and has an unending stock of cured meats in his coat, and the hugely cynical American president, which, of course, is one of the most British men alive, Charles Dance. In the quarters of the G7, Denis Menochet is the true epitome of French style, while Nikki Amuka and Tand Takahiro Hira provide more decent versions of their roles as the British and Japanese delegates. And finally, there is Alicia Vikander, who I should say seems to have a more in-depth but yet unforeseen cameo.

In “Rumours,” some sections seem like the work of Armando Iannucci meeting David Lynch, as it focuses on the allegations made against the government amidst the backdrop of surreal impossibility. It’s entertaining watching that hybrid. However, at times, it feels like a group of people, Maddin and the rest, are not fully committing to the concept, of which there is a better version in which a conscious effort is made to ruthlessly target the inept leaders – one that is more fleshed out than this one.

“Rumors,” in the end, deals with the sociological phenomenon of how useless things can preoccupy people in position whilst everything else is falling apart. They are more concerned with their public relations statements than actual changes. This is something one sees in global politics every day nowadays as thoughts and prayers take the place of actions. Maddin and his partners looked at this global problem and found an idiocy that is worth ridiculing, and indeed they do it brilliantly. A filmmaker revere by Roger has once again exploded his creativity onto the big screen in what will undoubtedly be one of the most noticeable works of his career (Cate is able to do that). I suspect ‘Rumors’ is subpar enough to gain his new fans for the mind-blistering work that earned him such respect. Considering Factors, Roger is still right: There are few filmmakers who so obviously love making movies as Guy Maddin does.

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