Rumours: A Geopolitical Satire Steeped in Kitsch Horror
Guy Maddin’s Rumours, co-directed with Evan and Galen Johnson, plunges viewers into a nightmarish G7 summit where political incompetence meets zombie film parody. If not for the unsettling soundtrack that evokes classic horror films, the film’s opening sequence bears a striking resemblance to the beginning of Pierre Schoeller’s L’Exercice de l’État. Seven influential world leaders gather within the wooded clearing surrounding a German castle, the location for the annual G7 summit in the remote region of Dankerode, Saxony.
The scene is a whirlwind of flashing cameras and jostling journalists, all surrounding the cadre of heads of state grappling with an international crisis. Their immediate task: to hammer out the broad strokes of a provisional declaration. Presiding over the proceedings is the German Chancellor (Cate Blanchett), whose tailored suits and signature hairstyle are a clear nod to Angela Merkel. She leads the delegation towards an archaeological dig site, where an archaeologist has unearthed the muddy corpse of a bog body, a grotesque, rubbery cadaver. The French President (Denis Ménochet, delivering an excellent performance) appears particularly captivated, hinting at his ongoing work on a "psycho-geography of cemeteries and funerary rites."
Protocol dictates that the assembled leaders must pose for posterity alongside the mummified remains, equipped with gleaming shovels and pristine plastic boots. Meanwhile, the Canadian Prime Minister (Roy Dupuis, injecting much-needed levity), a self-proclaimed "serial seducer," finds himself politely sidelined from the core negotiations by the representative of the United Kingdom (Nikki Amuka-Bird). Downcast, he wanders off into the surrounding forest, seeking to "clear his head." Later, within a colonnaded pavilion overlooking the water, the group assembles for a meal. This provides the French President with another opportunity for a lyrical digression on the virtues of wine, much to the annoyance of the other heads of state, who are clearly weary of his pompous and lecturing demeanor. Ménochet’s portrayal cleverly blends elements of Macron, Sarkozy, and Hollande, creating a caricature of the archetypal French politician.
As evening descends, a palpable sense of unease settles over the summit. The staff has vanished without a trace. Cell phone signals are nonexistent. Retracing their steps towards the castle, the politicians find themselves lost in a forest thick with mysteries and unseen dangers. Their subsequent nightmarish wanderings mark the film’s transition towards fantastical elements and a specific brand of kitsch horror.
Maddin, known for his unique cinematic style evident in films like Winnipeg My Love and Brand Upon the Brain!, crafts a geostrategic satire of political ineptitude in the guise of a zombie film spoof. As the protagonists become increasingly isolated from the outside world, the director’s unbridled imagination takes flight, giving rise to bizarre and hallucinatory visions reminiscent of the offbeat surrealism of Quentin Dupieux. Rumours navigates effortlessly between laughter and horror, highlighting the inherent flaws within democratic systems and the ultimate futility of international summits. The film emerges as a liberating exercise in irreverence and a welcome antidote in an era where democracy is under constant threat.
Rumours isn’t a film concerned with subtle nuances or complex political maneuvering. It is instead a blunt, exaggerated depiction of the perceived incompetence and self-serving agendas of those in power. The humor is often broad and absurd, relying on caricature and slapstick to drive its point home. The visual style, as is typical of Maddin’s work, is deliberately unconventional, employing techniques that harken back to early cinema and expressionist filmmaking. This creates a jarring and unsettling atmosphere, perfectly suited to the film’s themes of paranoia and disintegration.
The performances are uniformly strong, with each actor embracing the heightened reality of the film. Blanchett, in particular, shines as the Chancellor, capturing the steely resolve and pragmatic demeanor associated with Merkel while adding a layer of subtle unease. Ménochet’s portrayal of the French President is both hilarious and unsettling, a grotesque parody of national pride and intellectual pretension. Dupuis brings a welcome dose of self-deprecating humor to his role as the Canadian Prime Minister, a charming but ultimately ineffectual leader struggling to maintain his relevance.
The film’s exploration of the bog body adds another layer of symbolic resonance. The discovery of this ancient corpse forces the leaders to confront the limitations of their power and the ephemerality of their own existence. It serves as a reminder of the deep history that underlies the present, a history that is often ignored or forgotten in the pursuit of political expediency. The image of these powerful individuals posing with the muddy remains is both grotesque and darkly humorous, highlighting the absurdity of their self-importance in the face of mortality.
As the characters descend into madness and paranoia, the film becomes increasingly surreal and chaotic. The forest transforms into a psychological landscape, reflecting the characters’ inner turmoil and anxieties. The lines between reality and hallucination blur, creating a disorienting and unsettling experience for the viewer. While the film’s satirical edge may not resonate with all audiences, its willingness to take risks and push boundaries is undeniably refreshing. Rumours is a bold and provocative work that challenges viewers to question the nature of power, the state of democracy, and the sanity of our leaders. It’s a film that delights in its own absurdity, offering a darkly comic and ultimately unsettling vision of a world on the brink of collapse. The blend of political commentary, horror tropes, and surreal humor creates a unique and memorable cinematic experience, solidifying Maddin’s reputation as one of contemporary cinema’s most visionary and unconventional filmmakers.
