The Big Bug Review: The Science Fiction Screwball Meets Jean-Pierre Junett's Latest Misfire

A still from the Netflix movie Bigbug.

A still from the Netflix movie Bigbug.

Bigbug | Director: Jean-Pierre Junett

Starring: Elsa Silberstein, Stefan D. Grood, Yusuf Hajdi, Claire Chest, Isabelle Nanty, Alban Lenoir, Claude Perron, Dominic Pinon, Franസ്ois Levantel

Duration: 1 hour 51 minutes | Language: French

The Big Bug, which arrived on Netflix this weekend, marked the return of the French couple, who, with amazingly small noises, gave us Amelie and a very long engagement. Director Jean-Pierre Junett reunites with screenwriter Gillum Laurent for a future comedy about a group of suburbanites who are trapped in a smart home and unable to get out. Welcome to The Exterminating Angel of the AI ​​Age. This is Junett only, not Bunuel. There is no mystery as to why they were trapped. Imprisonment is narratively justified. A new generation of military androids has tried to take over mankind hostilely. So, domestic androids, still dedicated to humanitarian purposes, put suburbs under house arrest for their own safety.

One thing that would otherwise be tiring is Junett’s comic-strip invention and partial recovery of the visual vernacular. The retro-futuristic suburbia of 2045, bathed in warm shades, exaggerates the meaning of hyperreal. The details of the set design – in this case all the contrasts and clothing – provide a transportation appeal. Wide angle close-ups often turn characters into cartoonish characters. The gap between the intellect and emotion of a character is filled by strangeness. When things go awry, incomes drop to a point where they are exhausted. In his prime, Janet created a deep and strange balance. Like most of his films after a very long engagement, Bigbug does not create the same emotional connection to settle in our minds. Maybe Junet’s stick didn’t fall into the shop, but we overcame it.

Our dependence on technology takes the Big Bug to a terrible intensity, but it does play for the scrollball laugh. In this world imagined by Junet, pets can be cloned forever, so humans should never have to worry about them. Androids are ubiquitous. They come in all shapes and sizes and for all needs: they can be cooked; They can raise a child; They may be our companions; Older and more reliable versions can even protect us from a violent Android campaign. A new generation of AI, known as the Yonix (Franോois Levantel), decided that humanity was overbearing and a threat to its own evolution. So, middle-aged divorced Alice (Elsa Silberstein)’s home Android helpers locked her and all her guests inside the house, thinking the outside world was not safe for humans. When these suburbanites are looking for a way out, it’s like the Yonixes have turned off the AC – things get hotter together.

In the course of the film, Junett takes wide-ranging shots of everything: surveillance capitalism, technological addiction, economic inequality, reality TV, and all the usual sci-fi skeptics. As giant screens move through the suburbs to check if any purchases need to be made, Target Advertising has reached new heights. Entertainment distracts people from recognizing the scales of power that are shifting from democracy to dictatorship before their eyes. On a 24×7 reality-TV show called Homo Ridiculus, Yonix walks humans in a leap. Throughout the film’s runtime, the Junet show is used to keep track of human rights distributions in a world run by rogue AI. Just as we insult animals in circuses, androids do the same to humans.

By reuniting separated ex-husbands, their new lovers, teenage couples and neighbors, Junett gets a kick out of the face of diplomacy. Things are not surprising either. Scrollball obstacles keep coming in the way of Alice and her lover Max (Stefan D. Grood). The teens, Alice’s daughter Nina (Marisol Fertard), and Max’s son Leo (Heli Thonat) have no major problems with this. We found out that neighbor Francois (Isabelle Nanti) has a connection to her fitness Android. Alice’s ex-husband Victor and his fiance Jennifer, who were going on holiday before the lockdown, were the most disappointed.

Home androids are trying to make the lockdown as tolerable as possible for humans. Monique (Claude Peron) is a full-time servant who finds complete fulfillment in fulfilling all human expectations. Other Robot Assistants Older models (and digital creations): Einstein, a wire mechanical mechanic cranium who loves mathematics and philosophy, Nina’s childhood toy companion, and a vacuum cleaning boat. The Quartet seeks to help their human bosses through this difficult crisis and to understand what it means to be human. They download more programs to make us feel emotional, to read the whole library of books, and to develop a sense of humor. When Androids try to be helpful, humans go their own way. In a predictable paradox, Android proves to be more human and more robotic than humans.

Depending on your tolerance for whimsy, you may find Junett’s work to be beautiful or attractive. However, his most infectious films have a stronger emotional underpinning than going through the Big Bug. There is no doubt that the visuals of the film add a lot of weight to Junet’s thematic concerns and its overall appeal. However, at the same time, high genres become a prison in itself, reducing ideas to gimmicks and characters to caricatures. Originality can be a limitation. In allowing his imagination to run with him, Junett’s latest film proves the powerlessness of originality.

The Big Bug is now streaming on Netflix.


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