The year of the shark: review of the French Jaws

shark passion

For who has already seen Teddy, the step of the brothers behind the camera is not so surprising. The others, on the other hand, risk seriously hallucinating. Sold more or less as a summer comedy, the film alternates schoolboy gags… and authentic sequences from shark movies, hence the audacity necessary for its accompaniment in almost 500 theaters! Believe it or not, year of the shark is very clearly a Sea teeth (the shadow of Spielberg hovers) of the terroir. An unprecedented postulate.

In Teddy So the Boukherma imported the myth of the werewolf into rural France, with a big touch of Carrie at the Devil’s Ball bonus. A mixture of rebellious genres, which borrowed a lot from the cinema of Bruno Dumont and his description of the populations abandoned by the big Parisian productions. The interest residing less in the big show and the canine transformations (suggested, due to obvious budgetary limits) than in the fusion between the trajectory strewn with pitfalls of the young pariah played by Anthony Bajon, the very particular atmosphere of the setting Pyrenean and the codes of American genre film.

Martin Brody, Matt Hooper and Quint de La Pointe

At the sight of year of the shark, it becomes clear that this precarious balance comes quite simply from the two passions of the duo of directors: the popular cinema and the French regions. Less modest than its predecessor, this new entry in their filmography is none other thana gigantic aggregator of their desires, all sincere. The credits also end by thanking the sharks, without which there would be no shark film.

Except that in Teddy, the inevitability of the metamorphosis and the humility of the means of production were enough to tighten the stakes. The yoke borrowed from jawson the contrary, scatter the breaks your puzzle waychaining at a frantic pace sketches that one would think escaped from a good episode of Camping paradise (if it exists at all) and authentic genre-esque sequences, including a surprisingly technically solid climax, without really connecting them together. Everything is necessarily fascinating, despite a tendency to scatter that further reinforces its strangeness.

The year of the shark : Photo Marina FoïsA good smell of holidays (and ice cream that melts too quickly)

Everything everywhere

Marina Foïs, Jean-Pascal Zadi and Christine Gauthier (discovered in Teddy, precisely) therefore play the coastal police responsible for taking care of the big fish, under the pressure of seasonal workers and holidaymakers. And that’s not all ! Simultaneously assumed comedy, radiography of the mores of the region, freak film, personal quest and even political satire, year of the shark takes advantage of its hybrid nature to eat a little at all the racksaccording to the desires of its authors.

Result: the film is stuffed with random comic scenes, references to the pandemic and ideas of all kinds, lined up one after the other. Some of them fly, like the character embodied by Kad Merad – whose presence once again proves the incongruity of the enterprise – particularly touching in the skin of a husband very happy to finally enjoy a little of his life as a couple. Others much less, like this parody of the hour of the pros (or of any other emission held by pseudo-editorialists), which invites itself in an impromptu way as soon as the protagonists make a turn in the car.

Year of the Shark: Photo Kad MeradThe most beautiful floral shirts in the business

In short, year of the shark doesn’t really know what waters to swim in and affirms its singularity by losing its spectator. More than a courageous superimposition of diametrically opposed genres, it becomes a messy and kamikaze compilation of exalted homages and multiple ambitions. Unsurprisingly, its actors have fun like crazy, starting with Marina Foïs and Jean-Pascal Zadi. And we find ourselves smiling in the face of the biases that parade pell-mell on the screen, the use of the piece Love of Naps as a running gag, for example.

Because if the film often crashes, it must be recognized, his candid enthusiasm prevails, and reassures about the ability of young French filmmakers to break down the dikes between genres, even if that means cheerfully flooding them. And just for that, we wish the best to this improbable summer shark film, as well as to its directors. Can’t wait for them to attack the Kaiju Eiga.

Year of the Shark: Poster

The year of the shark: review of the French Jaws