Delicatessen (1991)

I'll admit I need to watch it again, but I have seen it and for some reason it just didn't stick with me. I honestly can't remember if I even liked it or not. I full-well realize that's my fault and not the film's, but at the same time, I feel like if it had been worth remembering, well, I would have. If that makes any sense.

The moment where Louison and Juliet play their respective instruments on the roof is one of my favourite cinematic moments. This was a film I was really into as a teenager, I was just getting into more esoteric film at the time and too a seventeen year old this was the pinnacle of weird French cinema.

I still like it, perhaps a lot more than I should, but it feels a little formless at times. That's an issue with most Jeunet films though and it never feels as meandering as something like A VERY LONG ENGAGEMENT or CITY OF LOST CHILDREN. It's got an amazing art style to it as well, Jeunet has got an amazing eye for visuals and what Caro did was counterbalance Jeunet's opulence to give the films a little edge. Jeunet's films after their split are perhaps too opulent, too indulgent and they really miss that sense of decay and general nastiness that Caro could bring to a film.

Amazing central performance by Dominique Pinon as well. Love the physicality he brings to the role. He's indicative of the thing I like about the film actually, it feels very old fashioned in how it operates. It's use of physical and visual humour feels like a real throwback to old Hollywood and Pinon just exemplifies that.

I doubt he will go Post Apocalyptic again. He worked with Marc Caro on this and City of Lost Children but they stopped working together during Alien Resurrections pre-production. Marc Caro seems to be one who brought that post apocalyptic sensibility.

You'd think so, but it isn't really. It's got a trash stylisation to it, but it's still very clean cut and opulent looking. It's good for what is is, it just is still lacking an edge. I've liked all of Jeunet's films to some degree and I've loathed the one Caro film I've seen (Dante 01) so it's clear who the better director is overall, I'd just love to see them reconcile and work together because they're undoubtedly better as a duo

I'm excited for Enter the Void because Caro is working on it as a production designer.

I love this movie, it is so strange and still works so well for me somehow. Agreed about the end scene on the roof. Also, reading the description of this movie on Netflix really did not prepare me well for the weirdness that ensues.

I knew nothing about this when I saw it. It was about a year ago, and I saw it on the big screen. Definitely weird. Definitely has a Gilliam feel to it. Great little movie I should revisit.

Yup.

Loved this movie. Pinon was a revelation. I dug the hell out of City of Lost Children as well.

In 1991, between this film, Barton Fink and Naked Lunch, it seemed like all the art house movies had this sort of rusty gold hue to them.

Good to hear a lot of praise for this one, it's next in my Instant Queue. I'll weigh in later this week when I can stop running around long enough to watch something.

Any aspiring screenwriters should give this a look, and imagine what the hell the script looked like. This (and Road Warrior) would make nice segues into exposing someone to silent film (well, dialogue-less film; the soundscapes are crucial).

It's been years since I've seen this one but I remember liking it a lot and I can't wait to check it out again real soon.