It's not easy to write a capsule description for a movie that includes cannibalism, serial killing, gender confusion, slapstick, romance, incest and what may be one of the most unusual jobs ever depicted on screen, carrying people across the shallows of a marshy bay. I'm not talking about a boat trip, but about a father/son team that literally picks people up and carries them across the water in their arms.
Directed by Bruno Dumont, Slack Bay takes us to the craggy coastal area of northern France in 1910. There, we meet two very strange families, the Van Peteghems (clueless and well-to-do) and the Bruforts (poor and mean-spirited).
The Van Peteghems live in a strange, fortress of a house overlooking the bay. The Van Peteghems embody all the pretensions of the supercilious upper classes. They are summer residents of the area. The Bruforts reside year-round on the poor side of town, hauling mussels from the sea and occasionally murdering an unsuspecting tourist by using an oar as a club.
The Bruforts are a sullen lot, and they make full use of their victims, chopping their bodies into small parts and munching on what might be called human tartare. Anyone for a foot? Perhaps a big toe?
As people disappear, two detectives roam the beach trying to determine what happened to those who have vanished. One is a corpulent man (Didier Despres) who wears a bowler and makes squishing sounds when he moves. His frequent falls usually result in a roll down one of the sand dunes that dot the beach. An assistant (Cyril Rigaux) accompanies his parade-float of a boss everywhere.
One of the charms, if that's the right word, of Dumont's movie is that the characters never seem to mesh. They are, in their way, a collection of lunatics, particularly the wealthy family, which is lead by a hunchback (Fabrice Luchini) who seems to have no control over his arm movements and whose mouth seems to have settled into a permanent droop. Luchini's Andre moves with the jangled grace of a swan in the midst of a seizure.
He has arrived at the seaside with his wife (Valeria Bruni Tedeschi). Later, he's visited by his sister (Juliette Binoche). Binoche's character is less a human than a walking aria of self-dramatizing gestures.
The Van Peteghems live in a building they have named the Tymphonium, a structure modeled on their view of ancient Egyptian architecture.
At various times, the Van Peteghems are visited by the brother of Tedeschi's character. Christian (Jean-Luc Vincent) seems to be mentally challenged, but not enough to play the role of holy fool.
Meanwhile, the poor side of town is represented by a patriarch (Thierry Lavieville) who calls himself the Eternal and his oldest son, Ma Loute (Brandon Lavieville). Ma Loute has the defiant look of a confirmed outsider.
Add to this mix a girl who dresses like a boy but who may actually be a boy, played by an actor identified only as Raph. Raph's androgynous Billie immediately is attracted to Ma Loute. She/he is thunderstruck and so is Ma Loute.
Little in this oddball world jells, but Dumont's mixture proves funny, strange and confounding, and each of the movie's mood is enhanced by the beautiful, often painterly compositions of cinematographer Guillaume Deffontaines.
Dumont mostly has made serious films (Humanite and Twentnine Palms). Though dubbed a comedy, Slack Beach has a serious substrata. Issues about class rivalry and human folly underlie the movie's bizarre whimsy. Dumont has concocted a world that exists in its own bubble-like sphere, refusing to be grounded by the confines of known realities or by customary moral proprieties. His movie is all the better for it.