Rating: 2/5
Oh My Horror 2025 | 11/52 | French Horror
Marc sits before a mirror, applying his makeup before a show. He steps onto a stage and performs pop songs for his audience of older adults at a retirement home. Backstage after the show, Madame Langhoff stoically thanks Marc for bringing them so much joy. She makes a pass, pulling his hand into her lap. When he resists, she shames herself as an old slut and runs off. Marc packs up his van to head south for a Christmas gala. Mademoiselle Vicky sees him off, paying him and giving him a tearful hug. Madame Langhoff watches from the window. Marc pulls himself away and hits the highway.
As he drives, the fog grows more dense. He stops to consult his map and spots a sign for the Bartel Inn. Something passes in front of his car, and he cannot get it to start. Outside, the rain picks up, and darkness falls. He dons a coat and checks under the hood, unable to find anything wrong. He puts batteries in his cell phone when a man named Boris presses his face against the glass, looking for his dog. Marc asks Boris to help him get to the inn.
Forced to abandon his van, Marc follows Boris into the woods. They arrive at the dark inn, where Boris calls for M. Bartel. Though the inn has no other occupants, Bartel has a clean room for Marc. The following day, Bartel tows Marc’s van to the inn, offering to fix it for him as a sign of solidarity between performers — Bartel is, after all, a retired comedian. When Marc goes for a walk, Bartel warns him to stay away from the village.
What lies in store for Marc? Will Boris ever find his dog?
The film is an absurdist black comedy that, unfortunately, tries to integrate genuine horror. The use of the name Bartel suggests the filmmakers’s familiarity with Paul Bartel and perhaps hints at the tone the film is chasing. The humor is pretty hit or miss, especially as things get more disturbing.
The film deals with loneliness and the lengths people go to overcome it. Everyone Marc encounters sees him as the thing missing in their life, whether it be a good lay, a long-lost love, or the metaphorical second coming of Christ. It also looks at gender roles, putting Marc in what may traditionally be a feminine role, complete with makeup, and subjecting him to the lust of those around him. The film is more successful with the former than with the latter.
I understand why so many folks don’t like this. It isn’t scary, but it’s pretty off-putting. My gripe is that I don’t know if it succeeds at what it sets out to do. I was mainly on board until the third act, which reached an extreme that didn’t complement the setup beyond Chekov’s SA about 30 minutes in.
At least we get a Brigitte Lahaie cameo?