5 March 2022 | New Scientist | 35A sexy singularity
Bigbug presents a strange and colourful world awash with
predictable gags and innuendo, says Gregory Wakeman
Film
Bigbug
Jean-Pierre Jeunet
Netflix
JEAN-PIERRE JEUNET is widely
regarded as one of the finest
French film-makers of the past
30 years, having overseen the
likes of Delicatessen, A Very Long
Engagement and the much adored
2001 romantic comedy Amélie.
Bigbug is Jeunet’s first feature
film since 2013’s The Young and
Prodigious T. S. Spivet and his first
French-language film since 2009’s
Micmacs. As fans of his work might
expect, Bigbug, a futuristic sci-fi
comedy, is downright bizarre.
Set in Paris in 2045, it takes
place in a world where humans
rely on robots to satisfy their every
desire. Then four of Alice (Elsa
Zylberstein)’s antiquated domestic
robots decide to take her hostage,
trapping her inside her home with
her date Max (Stéphane de Groodt),
his son Léo (Hélie Thonnat), her
daughter Nina (Marysole Fertard),
her ex-husband Victor (Youssef
Hajdi) and his new girlfriend
Jennifer (Claire Chust). Alice’s
nosy neighbour Françoise (Isabelle
Nanty), who happens to be visiting
along with her sex robot Greg
(Alban Lenoir), also gets locked in.
What starts off as a minor
inconvenience soon gets real
when it emerges that the latest
generation of robots, the Yonyx
(all played by François Levantal),
is trying to take over the world.
As the Yonyx get closer to Alice’s
home, the humans start to turn
against each other and the older
robots, who may or may not be
trying to keep them safe.
While Jeunet’s previous films
are similarly quirky, in Bigbug,
he plays for much bawdier laughs.
Sometimes, it works. A robot’s
analysis of why Max is lying to Alice
at the start of the film, for instance,
suggests that Jeunet might be about
to explore artificial intelligence in a
unique and irreverent way.
Unfortunately, though, that
level of insight never materialises,
and this early scene is about as
funny as Bigbug gets. Sure, Victor’s
increasing anger at being trapped
inside is amusing to watch unfold,
plus there are a handful of other
slapstick moments that you can’t
help but smile at. But in general,
it is surprising how predictable
most of the gags are.
Filming began in October 2020,
and it seems that Jeunet has tried to
channel the mental and emotional
struggles of quarantine during
covid-19 and to critique both the
world’s reliance on technology and
its infatuation with social media.
Unfortunately, whatever message
he is attempting to get across never
really materialises. In its place are
crude innuendos and sex jokes.
Some of Jeunet’s more unusual
creative decisions also make Bigbug
less successful than it should be. It
is jarring that, despite the mightyfinancial backing of Netflix, the
special effects look so cheap as to
be genuinely off-putting. What’s
more, while the characters are
almost entirely motivated by sex
and the film includes several scenes
that are definitely not suitable for
children, the world Jeunet has
created looks and feels cartoonish.
Alice’s home, her clothes, her
robots and even the flying cars all
appear to have been inspired by
The Jetsons, while the villainous
Yonyx, who all look and act the
same, could have been ripped
straight from a 1970s comic book.
While these elements don’t
come close to gelling, Jeunet’s light
direction, bright colour palette and
attractive set design do at least
make Bigbug watchable. It helps
that the script also takes some
unexpected twists and turns
that see the characters getting
romantically entangled in ways
that you might not initially expect.
But considering Jeunet’s past
cinematic triumphs, and after so
long away from the camera, Bigbug
just doesn’t provide enough laughs
or sufficient thematic depth to be
anything other than disappointing. ❚Gregory Wakeman is a journalist
based in Los AngelesRomance can get complicated
when you are locked in with a sex
robot while the androids attackBR
UNO^ CALVO/NET
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