The Empire (Bruno Dumont, 2024)

Having strayed from his home turf for 2021's largely Paris-set France, director Bruno Dumont once again finds himself on the familiar territory of the Opal Coast with The Empire (curiously, Dumont's Outside Satan was filmed under the same working title).  As with Outside Satan, The Empire is concerned with the age-old battle between good and evil.  Yet despite sharing the same broad theme and setting, the two films are very different from one another, with Outside Satan's Bressonian austerity nowhere in evidence as The Empire firmly aligns itself with the absurdist comedies Dumont has been making for the past decade.  Out of Dumont's post-Camille Claudel 1915 output, only 2019's Jeanne can be classed as a mostly "straight" film, but even that punishing, rigorous exercise was the sequel to a deranged heavy metal musical centring on Joan of Arc.  

Dumont's shift into comedy began with the 2014 miniseries Li'l Quinquin, which kicked off a loose trilogy that is now capped with The Empire (in between came a second TV series, Coincoin and the Extra-Humans).  These three works are linked by a pair of bumbling cops, Van der Weyden (Bernard Pruvost) and Carpentier (Philippe Jore), who over the course of the past ten years have been investigating increasingly bizarre crimes.  Coincoin and the Extra-Humans introduced a sci-fi element to proceedings, and The Empire sees Dumont make the leap to full-bore science fiction, with his latest film playing as a Ch'timi take on Star Wars, lightsabres and all.  As far as Dumont's oeuvre is concerned, it has been posited that The Empire is a mix of Ma Loute and The Life of Jesus, but it is difficult to see much of the latter—barring the general locale—in this light divertissement.      

At its most basic level, The Empire pits two alien factions against each other as they vie to take control of Earth.  The Queen (Camille Cottin) spearheads the benevolent 1s, while Beelzebub (Fabrice Luchini) is the leader of the nefarious 0s; each side has taken a foothold in a small fishing village by inhabiting the bodies of locals.  Thus, 0-fuelled fisherman Jony (Brandon Vlieghe) has fathered a baby who, it is foretold, will lead the dark side to triumph—sound familiar?  Jane (Anamaria Vartolomei) works on behalf of the 1s, and is devoted to preserving mankind; she has a sidekick in the form of Rudy (Jeanne's Julien Manier), while Jony is backed up by Line (Lyna Khoudri).  Although these otherworldly beings should have loftier matters on their minds, their earthly bodies serve as a major distraction—particularly when opposing numbers Jane and Jony develop a mutual attraction.   

Just as France saw its male lead replaced prior to the start of filming, Dumont was forced into recasting no less than three of The Empire's main roles, with Vartolomei, Khoudri and Cottin replacing Adèle Haenel, Lily-Rose Depp and Belgian actress Virginie Efira, respectively.  While Vartolomei is the standout performer here, it is a pity that the film gives Pruvost, Jore and Cottin so little to do, especially as Luchini has way too much screen time as the tiresomely unfunny Beelzebub.  The Empire marks Luchini and Dumont's third collaboration together, but there's a sense that this time the director has indulged his star to the point of the film's detriment.  As a coda to the Quinquin cycle, The Empire possesses a sloppy charm, and while it's certainly the slightest entry in the trilogy, there is nevertheless some fun to be had from its splicing of the fantastic with the workaday.     

Darren Arnold

Images: ARP Sélection