By far the most biting and ironic satire to premiere in Cannes competition this year — a divisive comedy whose cynicism was met with boos at the press screening — Bruno Dumont’s “France” doesn’t wa…
” doesn’t want to be liked. That’s more than can be said of its eponymous protagonist, France de Meurs , the country’s top news anchor and a damning representation of the journalist-as-star phenomenon. Picture a cross between Anderson Cooper and Megyn Kelly, an attention-thirsty TV personality who beams when her followers tweet “France for president,” but tears up when a politician insults her backstage, reducing her to nothing more than “a pretty tool” for a profit-seeking news network.
“France” opens with a cleverly staged press conference with French president Emmanuel Macron, edited to look as if France is really there, in the front row, hand-picked to lob the first bombshell — all of which suggests some kind of Borat-like stunt. But the acting style seems off: France can barely keep her composure as her brilliant but vulgar producer Lou winks and makes exaggerated oral-sex gestures from the sidelines of the room.
Compared to an over-the-top accident that occurs later in the film , this fender-bender feels like no big deal, though France turns it into her latest humanitarian cause, going far beyond the call of duty to compensate the victim, Baptiste .
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