Three half-brothers are reunited at their mother's funeral. After being told of their inheritance they quickly spend the money, only to find out that they will not receive it after all. The... See full summary »
A second-class horror movie has to be shown at Cannes Film Festival, but, before each screening, the projectionist is killed by a mysterious fellow, with hammer and sickle, just as it happens in the film to be shown.
Each time Octave Parango (played by Jean Dujardin) is in a bad trip, Frédéric Beigbeder appears. It certainly reffers to the fact that Beigbeder worked himself in an advertising agency as Octave in the movie. See more »
When Octave's version of the Starlight commercial is shown on television for the first time, the blob of yogurt on his eyebrow disappears and reappears between takes. See more »
Everything is bought. Love, Art, planet earth, you me. Especially me. The man is a product like any other, with a limit sell by date. I am advertising, I am one of those that make you dream the things you will ever have. Blue skies, never ugly chicks, perfect happiness and retouched in Photoshop. You think I embellished the world? lost, I screw it up. Everything is temporary. Love, Art, planet Earth, you, me. Especially me
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If you can imagine what an episode of "Mad Men" might've been like if they let Quentin Tarantino direct an episode, that's what you get with "99 Francs," an extremely ambitious and darkly funny assault on modern capitalist consumer culture and our advertising-obsessed age.
As a guy who's worked on and off in advertising for years, I almost shut off the film in the first half-hour, because it seemed like a bunch of things I've seen before -- vain, handsome, narcissistic drug and sex obsessed self-hating ad agency Creative Director's career ascends as his personal life falls apart --- Been there, seen that, over and over.
But I stuck with it and as the movie goes on, it becomes increasingly ambitious and, finally, profound. The last half hour or so is INTENSE, and I recommend sticking through the credits. The point the film tries to make connects, if maybe a bit too obviously at the end, but it's still pretty powerful.
Not surprised this subversive, well-made film didn't get a US theatrical release. Hollywood would never dare make a picture like this.
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