delicatessen ( film )
delicatessen
and
new fangled
will be shown at midnight tonight as part of the new york film festival. delicatessen
— delicatessen is a term for fine food. it may also refer to: delicatessen (film), a 1991 french black comedy film delicatessen (band), an english indie rock group delikatessen (album), an album by the german band oomph! this disambiguation page… …
into film recommend this film is engaging for this age range. please refer to the bbfc guidance for further help in your film choice .
, albert’s first short film, has screened at the edinburgh international film festival, creativity film festival in new york, lille, cardif, mallorca, greenwich film festivals, britspotting in berlin, and the kodak / bafta film showcase in london .
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a
complex, bewitching and fearlessly intelligent film
. is this film about three women a feminist film? what is the film about? are nietzsche’s ideas relevant to the film? what is the significance of the ‘maloja snake’? can you explain valentine’s disappearance ?
— cette page d’homonymie répertorie les différents sujets et articles partageant un même nom. delicatessen désigne: un type de magasin d alimentation ou de lieu de restauration: voir delicatessen (gastronomie) un film français réalisé… …
a must see, delicatessen is an absolute delight and a bizarrely madcap experience .
featured in fine cooked meats: a nod to jeunet and caro' s feature film' delicatessen' (1991). see more »
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delicatessen was picked as the best film at the tokyo international film festival. at home in france it won four césar’s, including best first feature, best screenplay, best production design, and best editing .
jess franco’s film comes to blu - ray with a gorgeous 1080p transfer and an informative commentary track from francophile and film maven tim lucas .
looking for movie tickets? enter your location to see which movie theaters are playing delicatessen near you .
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french film director, he won a prestigious césar award for his 1980 short film
le manège .
his 1991 feature film
delicatessen ,
captured four césar awards. he directed the fourth movie in the
alien
series entitled
alien resurrection .
in 2001 he directed audrey tautou in the film known as
amelie
(
le fabuleux destin d' amélie poulain
) the movie won several césar awards and oscar nominations .
the film also received nominations for those award ceremonies as well as for the baftas .
— pour les articles homonymes, voir delicatessen (homonymie). le mot delicatessen, que l office québécois de la langue française traduit par charcuterie ou épicerie fine selon le contexte, désigne un type de magasin d alimentation ou de lieu de… …
this troubled romance provides the bare skeleton on which jeunet and caro hang their dreams. a hugely enjoyable film ,
delicatessen
welds comedy and magic into a bizarre, grotesque fantasy of an oddball dystopian future .
film is still different, though. film is the most beautiful. in the near future, i would love to shoot film more. if i do shoot digital, i would shoot alexa 65 and not touch any other camera. unless, of course, you need a very small camera for a project that you cannot film with a regular camera .
find out more about what' s involved in running your very own into film club .
the film has won and been nominated for several important european awards. at the césar awards it won best editing, best film work, best production design and best writing, at the
nfs: you had originally wanted to shoot on film. why didn' t you, ultimately ?
with the headline: review / film festival; please, how many lentils for your musical saw? .
no film school: okja surprised me! i loved it. it had so much soul and heart .
65% # outof100 – fraternity hazing film, burning sands lands on netflix uk. stars british black talent
families can talk about the message of the film. does it say anything about the way the world is now ?
[ us ] delicatessen (1991) post - apocalyptic surrealist black comedy about the landlord of an apartment building who occasionally prepares a delicacy for his odd tenants. french language
'' amélie'' offers mr. jeunet a chance to show some flair without the brittle chill of his previous films like'' delicatessen'' and'' the city of lost children,'' in which his imagination and heartlessness combined for the film version of felonious assault .
jean - pierre jeunet and marc caro made a brilliant feature film debut with this bizarre and visually stunning comedy about cannibalism .
in the narrow sub - genre of happiness - in - the - face - of - dystopia, “delicatessen” plays as a chamber ensemble counterpart to “brazil’s” full - blown orchestra .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
a zany little film that' s a startling and clever debut for co - helmers jean - pierre jeunet and marc caro .
we are currently screening the wizard of oz, profound film that it is, and the last film wall - e. it' s been rewarding observing the ks1 6 year olds run the gamut of emotions from wonder to sadness to joy .
we will use the approach of andré bazin (1918–1958) to film analysis: brief introduction, screening of the film and discussion. we will seek to involve students, to encourage you to form your own judgments and to share these with the group .
few films have made an impact like delicatessen. what are we to make of this strange, original film? is there a plot? if there is, is it important? how do we make sense of the plethora of images, metaphors, allusions, and the eccentric characters, the bizarre situations ?
this web site is great. it helped me out tremendously. i had to write a paper on the movie delicatessen for my english class at east carolina university. much thanks desiree
[ us ] delicatessen (1991) post - apocalyptic surrealist black comedy about the landlord of an apartment building who occasionally prepares a delicacy for his odd tenants. french language: netflixbestof
la haine is a landmark in french cinema, it helped create the ‘beur’ film genre, foregrounding life in the arab slums of paris. what are the film’s social and political implications? to what extent is reality manipulated? how are the three men differentiated ?
recognised as one of godard’s greatest achievements, éloge de l’amour is a complex and challenging film. we shall examine the comment: “the narrative is actually quite simple but the way godard presents it is not
. how do memory and forgetting feature in this film ?
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with its molelike inhabitants, its sprawling war between flesh - eaters and lentil - men, its achingly sweet love story and surrealist blend of dusty antiquities and 21st - century gizmos, delicatessen is indescribably wild .
“…just a lot of flashy technique involving decor, some glib allegorical flourishes, and the obligatory studied film - school weirdness. ”–jonathan rosenbaum, chicago reader
the first of two films co - directed by jeunet and caro. the pair conceived the idea for the city of lost children (also on the list of the 366 best weird movies of all time) first, but it was too expensive to produce. delicatessen could be shot on a single sound stage, cheaply, so they produced this film first .
— delicatessen were an indie rock group formed in leicester, england in the early 1990s. they released three albums and four singles before splitting in 1998. [ 1 ] contents 1 biography 2 discography 2. 1 singles …
gabriel folgado (albares de la ribera, spain, 1970) he has a degree in cinema from the university of leon. in 2004 he directed his first short film “vilapicardo” followed by “la embajada toscana” in 2005. he has also spent time teaching at león university. his first documentary ”interior landscapes” has been shortlisted and awarded in over 30 worldwide film festivals. amongst others, it received seven nominations in the 2011 goya awards and the prestigious “golden botillo” prize. “ancestral delicatessen” is the second documentary he has directed with catoute films, his production company .
it is largely a character - based film, with much of the interest being gained from each tenant' s own particular idiosyncrasies and their relationship to each other .
on the same bill with
delicatessen
is
new fangled ,
a delightful two - minute short by george griffin incorporating fast, flexible imagery and smug marketing jargon. the voice - overs are as funny as the animation .
combining the cruel humour of grimm' s fairy stories, with the spirit of terry gilliam and that peculiarly french knack of putting magic into film, this feverish tale of star - crossed lovers and small town cannibalism has endured as a true masterpiece of the fantastique. with
delicatessen
, jeunet and caro gave the world a canny and confident calling card for that most coveted of talents - commercial arthouse cinema. brilliant .
filled with idiosyncratic characters and eccentric scenes, this film is about these characters above all else. in a building where a butcher heads a group of people and invites tenants on his…
the past couple of years, tankian focuses on creating musical scores and compositions for films and video game projects. he serves as the executive music consultant for the highly anticipated film “the promise, ” where along with the authentic light orchestra, his modern version of the armenian folk song, “sari siroon yar” will be heard for the first time in the film .
delicatessen is gorgeously shot and so well imagined with terrific sets, atmosphere and world building, but it' s a shame that the execution of its admittedly great premise is so weak with unappealing humor, forgettable characters and too much weirdness in its approach .
there are no characters to care about or remember afterward - - just a lot of flashy technique involving decor, some glib allegorical flourishes, and the obligatory studied film - school weirdness .
delicatessen at the art of the title sequence – see the excellent opening credit sequence, where the camera pans over a pile of junk on which the names of the crew are written (the cinematographer’s name appears on a discarded camera, the composer’s name on a broken record) .
while delicatessen is dark and very adult, you can’t help but feel that it’s a child’s nightmare, and the story is told from that perspective. the characters are broadly drawn, larger than life, and over the top. how the characters look and act play a more important role…
it' s still different than film. it' s not like film, but i take a really special pleasure in shooting with it, mainly because of the format. with 6k and big pixels, it' s not compressed at all. it' s very nice and sharp. it' s got a smoothness at the center. it has a very nice touch in the skin tones. it' s a new step into a better world of making quality images. when you shoot in the dark, you just push the sensor and it still beautiful. it doesn' t have any of the low - light harshness of other cameras. it' s not jumpy—you know, that jumpy effect on the image. shooting on the alexa 65, i treat it almost like film. i expose it like film .
delicatessen has many qualities; it' s not only one of the most stylish and inventive movies ever made, but it' s also a wickedly funny exercise in melding many tones and genres like sci - fi, horror and humor creating an unforgettable coalescence of stuff that dreams and nightmares are made of .
no film school spoke with khondji prior to okja' s netflix release to discuss the merits of that camera, what to look for in a location scout, the importance of developing a strong visual concept, and more .
you must be completely devoid of all brain cells. anyone with the intelligence quotiant of an ichthyoid would see delicatessen as a great movie. you have obviously completely missed what the movie about. anyone who would call this movie bad is a certified moron. spare us all and shut the hell up from now on .
bared maronian is a four time regional emmy award winning documentary filmmaker with a ba in political science. he has worked on local, regional and national productions for public broadcasting nationwide and satellite distribution such as direct tv and dish network. his latest work, orphans of the genocide has reached over 50. 6 million households by way of television broadcasting in the states and is translated into six languages including french, spanish, portuguese, armenian, romanian and soon greek. in 2004 the film won the audience choice award at the canadian pomegranate film festival in toronto and the irvine international film festival in california. orphans of the genocide is twice nominated for regional emmys under the category of best historical documentary .
khondji' s newest film is bong' s okja, a netflix original that premieres on the streaming platform today. it spans the remote wilderness of south korea, evoking hayao miyazaki, and then travels to the cold urbanism of seoul and, finally, new york city. okja, about a little girl trying to save her genetically - modified pet pig from becoming dinner, sees khondji perform some dexterous visual feats, such as a car chase that ends in a crowded underground mall. though khondji is a diehard film enthusiast—prior to okja, he' d shot only one feature film digitally—netflix asked that khondji relinquish the celluloid. so the cinematographer picked up the only digital camera he will touch: the alexa 65 .
— film directors frequently choose to work with the same actor or actress across several projects. such collaborations may span years or even decades. the following list has been alphabetized by the director s last name. a * jim abrahams / lloyd… …
a sardonic satire on what happens when the dog - eat - dog world becomes a human - eat - human world instead, delicatessen is a film best left to older teens and adults. the movie comes across like a tim burton fantasy aimed squarely at grownups. there' s a playfulness and whimsy to all the grotesqueries, but it seems geared more to adult attention spans and intellects, as the loose - jointed plot often turns to people doing (or being) puzzling things, like a weird old man in the building' s flooded basement reigning over colonies of frogs and snails, or a last - minute revelation that a motiveless murder plot had been afoot all along amidst two minor characters. there are few easy answers - - and the ending leaves things a bit up in the air, in more ways than one. but the film casts a weird spell that is not soon forgotten .
voted one of the ten best films of all time, renoir’s classic is rich in themes, complex in its handling of form. is this a war film? or an analysis of class? or a love story? what do we learn about the human condition ?
( 1995) was refused, because
the city
was too expensive for the, at the time, unknown directors to assume. for that reason, delicatessen' s budget was cut very tight, with a very restricted set, many friends and family of both directors appearing in the cast, and most props being actually old scavenged stuff - again, to cut costs .
one of the most stylish and influential thrillers”, “an international classic”. in what ways is diva reflective of the new look cinema? how much does the film adhere to traditions of french cinema, how much is original? what is the contribution of the musical score ?
despite its dip into black comedy via the futile suicide attempts and the cannibalism subtext, delicatessen ‘s comedy is surprisingly light and clownish, owing a great debt to the physicality of silent comedians and jacques tati. punchlines are few and far between; instead, the film delights in creating clever and elaborate visual gags. the most famous of these is the two minute bravura sequence where the squeaking bed springs as the butcher pleasures himself on top of his mistress set the tempo for the entire house’s activity: a bicycle pump, cello practice, beating a dusty rug and painting the ceiling all magically synchronize to the beat of copulation, and all end with a separate climax .
a graduate of the university of southern california film program, albert began his career as a producer on several independent feature films before moving into cinematography. after shooting a number of narrative projects, including a piece by director mike figgis (leaving las vegas) for the acclaimed shorts collection
dilapidated french boarding house filled with insane tenants, most pleasantly eccentric, some downright creepy. you peer inside each room and find something unique and discomfiting. the film is filled with bizarre characters and absurd comic interludes, set in a decaying near - future universe that is artificially “off. ”
hip hop cafe is set in a new york style delicatessen in east london. it’s an ensemble slice of life that intercuts between three separate character groups at different tables. there’s jack and his ex jenny, who he’s clearly cheated on and is trying to win back. there’s marge and bonita, two elderly ladies who become increasingly drunk and attracted to the young waiter, and hove the eternally grumpy owner and his staff .
the filmmaking team of jean pierre jeunet and marc caro is a marriage of gilliam, burton, and lynch. together they created two of my favourite films, delicatessen and city of lost children. while i like most of jeunet’s later work, it doesn’t quite have the sensuous look and feel of these two films. if i were to draw a comparison, it would be like burton and lynch teamed up to make brazil .
at the time of release some reputable american critics reported that the film was either co - produced or “presented by” terry gilliam, although gilliam’s name doesn’t appear anywhere in the credits. it seems likely the monty python alum, whose early films are tonally similar to jeunet and caro, played some part the american distribution .
the original american trailer for the film simply presented the comic
squeaky spring
sequence in full. the sequence depicts a montage of the butcher - landlord making love to his mistress on a noisy bed, while the rest of the building' s tenants perform activities (painting ceilings, knitting, playing the cello, assembling animal calls) at an increasing pace, with the squeaks from the bedsprings dictating the tempo. the trailer ended with the butcher climaxing, each tenant' s activity ending (rather violently) and then a sudden cut to the title logo and the' swinging pig' emblem from the film' s opening credits .
maronian’s current work is women of 1915, a documentary film about the plight of the armenian women during the genocide scheduled to screen at the annual arpa international film festival in november 2016. women of 1915, is the first documentary ever to unveil the role of the armenian women of the era who lived through the horrors of the first genocide of the 20th century. the documentary highlights the integral role the armenian women played in their respective communities and the heroic, humanitarian women advocates who came to their aid from around the world, and some who even died at war - ravaged ottoman empire to empower the armenian women as pillars of war - torn, post - genocide societies. maronian’s women of 1915 follows his highly acclaimed documentary, orphans of the genocide, on the plight of the armenian genocide orphans, selected by the hong kong world international film festival, and nationally distributed by the national educational telecommunications association to over 250 tv stations across the u. s .
the film' s original french title was'' le fabuleux destin d' amélie poulain,'' and mr. jeunet deflates the self - mocking pomposity of the title by the last third of the movie. yet there is no denying that'' amélie'' is, to paraphrase its title, fabulous .
will jack win jenny back? will the drunken marge get lucky with the waiter? will hove ever smile? the unique and original thing about hip hop cafe as a film, is that all of these slice of life moments are told with the characters speaking the lyrics of golden age hip hop tracks as the dialogue .
what gives darius khondji the ability to move fluidly between genres and collaborate with directors as distinctive as woody allen, david fincher, michael haneke, jean - pierre jeunet, and now bong joon - ho? if you ask him, it' s one quality: the ability to listen. delicatessen required khondji to create a gritty, absurdist world; midnight in paris boasted a fantastical world, ever - expanding according to the outer limits of the imagination; and the stark visuals of amour outlined a world collapsing in on itself in the final days of life. to create these varied aesthetics, khondji listened to his directors describe scenes in their films. embedded within these descriptions were the hidden keys to the film' s cinematography, dictating everything from lighting setups to camera movement .
directed by jean - pierre jeunet; written (in french, with english subtitles) by guillaume laurant and mr. jeunet; director of photography, bruno delbonnel; edited by hervé schneid; music by yann tiersen; produced by claudie ossard; released by miramax zoë. running time: 120 minutes. this film is rated r .
delicatessen begins in a dilapidated apartment building in post - apocalyptic france. food is in short supply, with grain used as currency. in the ground floor of the apartment building is a butcher' s shop, run by the landlord, clapet (jean - claude dreyfus), who posts job opportunities in the hard times paper as means to lure victims to the building, whom he murders and butchers as a cheap source of meat that he sells to his tenants .
this movie is one of the best ever made... even if this is a bad movies site, it' s still good that it is recognized. it' s brought to you by the same folks that made
city of lost children ,
another bizarre film. pretty damn sweet. the troglodytes are my heroes .
making his major mark on international audiences, pinon’s roles in jean - pierre jeunet’s amélie and delicatessen, playing the characters of joseph and louison, remain his most moving, and allowed for multiple generations and a worldwide audience to fall in love with his multi - layered acts and his presentation of the characters’ many intricacies. breaching over to american cinema with his key role in alien: resurrection, also directed by jeunet, pinon has continued to crossover to multiple genres and marketplaces throughout his career .
the film was received well critically. the review aggregator rotten tomatoes gave it 88% from a total of 41 reviews, and that of metacritic gave it 66 out of 100 out of a total of 17 reviews. variety called it
a zany little film that' s a startling and clever debut
, while empire called it
[ a ] fair bet for cultdom, a lot more likeable than its subject matter suggests, and simply essential viewing for vegetarians
. not all reviews were positive, however, with the new york times saying
its last half - hour is devoted chiefly to letting the characters wreck the sets, and quite literally becomes a washout when the bathtub overflows .
( wikipedia )
shot in oppressive orangey tones and sometimes taking unexpectedly grisly turns ,
delicatessen
works best when simply allowing its characters to express their strangeness. the material' s fun - house atmosphere is most effectively captured in simple interludes, like julie' s rehearsed but bungled attempt to serve tea to louison or mrs. interligator' s unsuccessful stab at doing herself in using a lamp, a sewing machine and a length of red satin. it' s worthwhile finding out how this is supposed to work, and why it doesn' t .
jeunet, one of three co - writers on the film, says that the idea for the story came to him because he used to rent a room above a butcher’s shop and would be awoken by the sound of the butcher sharpening his cleaver every morning. his fiancee would joke that the landlord was killing his tenants for meat in order to convince him to move to a new apartment .
caro not only refused to participate a director’s commentary, saying that he didn’t believe in them, but also requested that footage of him not be used in the behind - the - scenes segments on the dvd. in his commentary, jeunet implies that caro is too self - critical, dryly suggesting caro thought the film a failure because a barely visible garden hose was unintentionally left in one shot .
from the director of amelie (jean - pierre jeunet) comes a post - apocalyptic comedy that' s both bitingly hilarious and absolutely one - of - a - kind. when meat becomes so rare that it is used as currency, residents living above a delicatessen must depend on a menacingly strange butcher (jean - claude dreyfus) for their supply. but when a new tenant (dominique pinon) arrives and takes a job as the building' s handyman, he unknowingly steps into the butcher' s trap... to serve him as the next meal !
just how does one even begin to review this film! i' ve been pondering that question for the past hour and for some strange reason director wes anderson comes to mind so i' ll run with that! what does wes anderson and the directing duo of marc caro and jean - pierre jeunet have in common. . the trio place heavy emphasis on creating fantastical worlds where scrumptiously delicious visuals and quirkiness reign !
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we talked about manga. you know, i' m really not a manga reader, but i liked that bong referenced it. we talked about the characters, the story, and what was important in the film—the presence and the nature around the main character, mija. then, we wanted a strong contrast with the city scenes. he wanted to feel, visually, the moment they go in the city with all this coldness and aggressiveness .
darius khondji: it' s a fun movie, right, to watch? yeah, a lot of heart. exactly. that' s why i really loved this project. when bong joon - ho asked me to shoot the film and then later sent me the script, i was very moved by the story, just like you. it had all this heart, this feeling of real love and friendship. and it' s actually a very modern story .
in delicatessen, jeunet and caro work hard to create a hermetically sealed artistic universe. like the convenient city services that function when the story needs them, reality world only intrudes into their fantasy universe out of necessity. the natural world is absent from these dreary interiors, except when the directors transform it to suit their own needs: the smoky yellow sky, the pond in an apartment, the staircase that becomes a waterfall. but in the very last scene, an exterior rooftop shot, nature is somewhat restored; the smog dissipates, and we see sunlight and a blue sky. after all, when was the last time you saw a movie without any blue in it ?
with over 100 film and short credits, multiple roles in french television and over 40 performances in stage theater (garnering him the molière award for best actor), pinon’s ability to capture an audience and remain a pillar and reflection of french culture, especially to those outside of his home country with a curiosity for the romance that paris evokes, continue to take the viewer to a new world in which pinon plays their guide, comedic relief, representation of inner struggles and lovable oddity .
she has the innocent vitality of a silent - film star; with her helmet of gorgeous brunet hair, she is posed to suggest louise brooks from some angles. mr. jeunet directs his protagonist so that even when she is a child (played by flora guiet), each thought and impulse shines though her skin. (ms. tautou addresses the camera as if she were looking each viewer right in the eye; she has the cross - hairs focus of a movie star. )
in one ridiculously off - point piece of slapstick, luison and a fellow tenet bounce on a bed to pinpoint a squeaky spring, sending reverberations that signal sex throughout the building. in this way, jeunet attempts the same awkward kinkiness that made his amelie redeemably cute; just like amelie loves to submerge her hands in raw beans, luison takes great pride in his former career as a clown with a sidekick monkey. but delicatessen, in addition to suffering from the same preening preciousness that made amelie ultimately forgettable, also overdoses on its cartoonishly oppressive surroundings—a rapist mailman, food - snatching neighbors—all too repetitive of terry gilliam’s brazil and far less meaningful. jeunet and caro stuff themselves with all their favorite obsessions and the result is both unfunny and very unappetizing .
set in a futuristic paris, this stunningly designed, blackly comic french film reveals a city in ruins, where food is in short supply and the last taboo - cannibalism - is no longer considered an issue. louison, a retired clown, takes a room and a job at a lodging house run by the local butcher, unaware that he' s being lined up as dish of the day. when he falls in love with the butcher' s daughter they decide to join up with the radical underground vegetarian movement - and try to escape in one piece .
following the apparent death and butchering of an old woman, the troglodistes return, and mr. clapet, with the remaining tenants of the building, storm louison' s room in an attempt to murder him. louison, aided by julie, resists by flooding the bathroom until clapet opens the door and he and the other tenants are momentarily carried away by the ensuing flood. louison is able to narrowly avoid death as clapet inadvertently kills himself with louison' s weapon. the film ends with louison and julie playing music together on the roof of the now peaceful apartment building .
the film' s pacing is athletic, though the pulse of the narrative is gradually slowed. by the climax, the movie segues into a rumination on loss and the perils of being too playful. when dufayel straightens amélie out, we see it in a monologue on videotape. here mr. jeunet uses video as a device to demonstrate how amélie has kept the world at arm' s length, but the scene evokes'' krapp' s last tape''; in close - up, dufayel resembles samuel beckett. by this point, the director brakes the action so that thought, and possibly regret, can filter through .
the story is centered on a microcosm of a post - apocalyptic society where food is so rare it' s invaluable and is used as currency. the story centers on an apartment building with a delicatessen on the ground floor. the owner of the eatery also owns the apartment building and he is in need of a new maintenance man since the original
mysteriously
disappeared. a former clown applies for the job and the butcher' s intent is to have him work for a little while and then serve him to quirky tenants who pay the butcher in, of course, grain. the clown and butcher' s daughter fall in love and she tries to foil her father' s plans by contacting the
troglodytes
, a grain eating sub - group of society who live entirely underground. the
trogs
are possibly the most sensible of the lot, as they see food as food and not money .
jean - pierre jeunet and marc caro made their feature debut with this gloriously surreal comedy. rarely can a film have had so many disparate influences. in addition to the visual inspiration of french comic books and the eccentricity of heath robinson, there are references to the poetic realism of marcel carné and rené clair, as well as the darker visions of david lynch and terry gilliam. the gallery of grotesques gathered at butcher jean - claude dreyfus' s tenement participates in some of the funniest set pieces of recent years, most notably the deliriously unerotic sex scene and sylvie laguna' s preposterous suicide attempts. bizarre, brilliant, but wayward in its dénouement .
the story is centered on a microcosm of a post - apocalyptic society where food is so rare it' s invaluable and is used as currency. the story centers on an apartment building with a delicatessen on the ground floor. the owner of the eatery also owns the apartment building and he is in need of a new maintenance man since the original
mysteriously
disappeared. a former clown applies for the job and the butcher' s intent is to have him work for a little while and then serve him to quirky tenants who pay the butcher in, of course, grain. the clown and butcher' s daughter fall in love and she tries to foil her father' s plans by contacting the
troglodytes
, a grain eating sub - group of society who live entirely underground. the
trogs
are possibly the most sensible of the lot, as they see food as food and not money. written by anonymous
then there is aurore, a schizophrenic tenant tortured by the voices she hears, who invents bizarre schemes to off herself that would seem needlessly indirect and elaborate to wile e. coyote. her first attempt involves a bathtub, a lamp, a bolt of cloth, a sewing machine, and a doorbell; after this fails, she tries to cover her bases by setting a trap for herself that utilizes a gun, a molotov cocktail, a lighted stove, a bottle of pills and a noose. jeunet loves to create such rube goldbergesque devices and schemes, and his penchant for roundabout mechanics would again manifest itself in the duo’s followup film, the city of lost children .
the near future: taking a job and a bedsit at a shabby rooming - house above a butcher' s shop, ex - clown louison (pinon) falls for the butcher' s daughter. but her father, unhappy about the blossoming romance, deals in human flesh: will louison fall victim, or will the troglodistes, an underground group of vegetarian fanatics, come to his rescue? on to this slim story, writer - directors jeunet and caro pile a wealth of delicious comic detail. each grotesquely larger - than - life inhabitant of the scrofulous tenement has his own little story; visually, the film evokes gilliam, lynch, the coens and carné, but the allusions never get in the way of the nightmarish humour. the sets, special effects, photography, pace and performances all contribute to the brash comic - strip vivacity, and even the fairytale romance avoids sentimentality. increasingly inventive as it progresses, jeunet and caro' s fast, funny feature debut entertains from sinister start to frantic finish .
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all of this is handled in a breezy, off - handed, nutsy manner, as the superb cast combines to help bring it off .
with their detached, sardonic and decidedly sick slant, jeunet and caro have served up a burnt - to - a - crisp feast .
if we take the idea of a romantic comedy set in the ruins of a dead society and dressed up with cannibal horror seriously at all, it' s hard to see how it could turn out better than this .
the movie, take it from me, is a lot more fun to sit through than to describe in a single sentence .
what will filmmakers jeunet and caro serve for dessert in their next movie? something equally daring, one hopes - - but more thoroughly cooked and a bit easier to swallow .
this is exactly like brazil. that is to say, the movies look really really similar, in thier cluttered sets, quirky characters and post - apocalyptic yet casual world. i liked it as much as i liked brazil. it was fun, kinda cool, but not really my cup of tea. it kind of bothered me the way it couldn' t quite pick what genre it was supposed to be. i think it wanted to be a comedy .
nobody is entirely evil: it' s that circumstances that make them evil, or they don' t know they are doing evil .
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post - apocalyptic surrealist black comedy about the landlord of an apartment building who occasionally prepares a delicacy for his odd tenants .
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a scientist in a surrealist society kidnaps children to steal their dreams, hoping that they slow his aging process .
a man and his friends come up with an intricate and original plan to destroy two big weapons manufacturers .
tells the story of a young woman' s relentless search for her fiancé, who has disappeared from the trenches of the somme during world war one .
amélie is an innocent and naive girl in paris with her own sense of justice. she decides to help those around her and, along the way, discovers love .
when julie welcomes louison in her room and we see her following him to the table she has no socks, when she brings him later into his room after he has fallen asleep she has socks .
in the opening credits, crew members' names appear on objects that the camera tracks across: the director of photography' s name appears on a camera, the composer' s name on a broken 12
record, etc .
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into this establishment comes louison (dominique pinon), a former circus clown who would be the most eccentric person in the place if the competition were not so stiff. also on hand are the shy, very correct julie (marie - laure dougnac), who plays the cello to accompany louison on the musical saw; mrs. interligator (sylvie laguna), who is urged by inner voices to attempt suicide in extremely creative ways; the kube brothers (jacques mathou and rufus), who intently manufacture little cannisters that make mooing sounds, and an assortment of fellow oddballs .
among the things that deserve mention in this lightweight but sometimes subversively stylish farce are its ingenious credit sequence, its lively editing by herve schneid, its use of code names like artichoke heart and cordon bleu in the guerrilla war that rages underground and its reference to a couple of odd inventions. one is a magical combination of boomerang and pocketknife, and it can work wonders. the other is a very specific sort of lie detector, and no home should be without one .
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somewhere in the mist - shrouded future of france, louison (pinon), a grieving ex - clown takes a job as janitor in a crumbling apartment block. unbeknown to him, this job has a history and previous incumbents have ended up on the neighbour' s dinner table via the butcher' s block. when louison innocently falls for the butcher' s myopic daughter, the knife is held back to spare her feelings. but as bellies begin to rumble, will love be enough to keep louison out of le charcuterie ?
the directors are constantly playing curveball with the audience' s expectations and nothing can prepare you for the sheer weirdness of it all. every so often, the plot stops to watch a scene spiral off at a tangent, such as a rhythm of creaking beds rippling out through the hotel, or two boys spying on a old man breeding escargots in his flooded apartment .
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air vent passageway: the troglodistes use suction cups to climb up the ducts of the apartment, running into some problems as they do so .
antenna adjusting: the tv sets in the apartment rarely get a good signal. when clapet enacts his plan to kill louison, he violently shakes the rooftop antenna so that he will come to the roof to fix it. when the antenna gets used as an improvised weapon and the two wrestle with it, it' s played for laughs when madame tapioca shouts up directions at them about how to adjust it .
aren' t you going to ravish me? : when mademoiselle plusse is accidentally kidnapped by the troglodistes instead of louison, she initially resists because she' s expecting them to rape her. however, they all suddenly leave to raid the apartment while leaving her tied up below ground, causing her to become outraged that they' re just going to forget about her .
attempted rape: postman tries to force himself on julie, but louison manages to stop him .
bittersweet ending: clapet' s reign of terror may be over, but there' s a finite supply of corn and it won' t hold out forever. however, the yellow gas is less oppressive in the final scene .
: aurore' s suicide plans are repeatedly ruined at the last second by some random event .
except for the last one, and its success didn' t even have anything to do with her .
the butcher: clapet' s occupation. he' s called le boucher, and he butchers people .
credits brand products: the original opening credits using household items to display cast and crew names .
: aurore hears voices constantly telling her to kill herself, which drives her to construct ever more complicated ways of doing it, all of which fail. her final method involves her swallowing pills while facing a gun set to go off, while she stands with her neck in a noose, with the gas on and a lit molotov cocktail just under her stool .
louison and julie lock themselves in a bathroom, waterproof the room with their clothes, and then break open the pipes. it' s a trap for clapet and the tennants who are trying to break in, but they will drown inside if the door isn' t opened in time
: aurore constructs a rather elaborate way of doing this to commit suicide, lying in the bathtub and attaching the motor of a sewing machine to the doorbell, so that when someone rings the bell the sewing machine pulls a piece of cloth down, with a lamp balanced on the end of it so the lamp is pulled closer to the tub .
: aurore' s final suicide attempt, in which multiple redundant methods cancel each other out .
to add insult to injury, she and her husband subsequently blow themselves up completely by accident .
even evil has loved ones: clapet loves his daughter and tries the best to make her happy, despite she is greatly against his methods of feeding the tenants .
everything' s better with monkeys: was better, before dr. livingstone got eaten .
the glasses gotta go: played with. julie takes her glasses off when she first invites louison to her room for tea. without them she can' t see a thing and ends up overfilling their teacups and breaking a vase. she eventually ditches them for contact lenses. god knows how she got her hands on those .
i' m a humanitarian: humanitarianism seems to have had an unexpected surge in popularity after the end .
after getting the australian lodged in his forehead when he attempted to throw it at louison, clapet staggers for a couple minutes—bewildered but not obviously in pain—asking those present if he has something stuck in his head .
meganekko: julie, who worries that her glasses make her unattractive even though she' s as blind as a bat without them .
non - ironic clown: louison' s previous job, which he quit when his chimpanzee partner dr. livingstone was eaten .
panty thief: the two boys steal mademoiselle plusse' s panties from the clothes line using a fishing hook, much to her consternation.
delicatessen is a french 1991 post-apocalyptic black comedy film directed by jean-pierre jeunet and marc caro , starring dominique pinon and karin viard . it was released in north america as " presented by terry gilliam . " like its successor , the city of lost children ( 1995 ) , it was an homage to the works of gilliam . 
delicatessen is a french 1991 post-apocalyptic black comedy film directed by jean-pierre jeunet and marc caro, starring dominique pinon and karin viard. it was released in north america as " presented by terry gilliam. " like its successor, the city of lost children (1995), it was an homage to the works of gilliam.
delicatessen is a french 1991 post-apocalyptic black comedy film directed by jean-pierre jeunet and marc caro, starring dominique pinon and karin viard. it was released in north america as " presented by terry gilliam. " like its successor, the city of lost children (1995), it was an homage to the works of gilliam.