Rhapsodie en 3 bandes

Rhapsodie en 3 bandes est sans aucun doute la comédie musicale la plus obscure qu’il m’ait été donné de voir – et peut-être bien aussi l’un des films les plus étranges que j’ai eu l’honneur de regarder à ce jour. Et oui, toute l’intrigue se résume au fait que Billy the Kid et le vampire jouent ensemble au snooker. C’est difficile à décrire – difficile de deviner quelle était l’intention des créateurs en faisant ce film. Quoi qu’il en soit, les personnages, les dialogues, les comportements et – allons-y gaiement ! – même le nom des personnages sont comme sortis d’une autre dimension, à la plus grande joie du public ! Il est possible, à travers le jeu d’acteur non conventionnel, les paroles farfelues et autres fantaisies, de remarquer une grande qualité de réalisation et un travail de caméra intéressant. Une vraie perle de bizarrerie ! [KVIFF 2018] (05/07/2018)

This film is an illustrative example of how the theoretical concepts of story and narration differ from each other. Strictly speaking, the film consists of a single billiards duel and the previous performance of its protagonists and organisers. But it is precisely the depiction of this event in the film’s narrative that is stunningly enchanting – if one does not have an aversion to modern musicals. In a minimalistically stark setting, but with all the more colourfully stylised figures, the film sets out a phantasmagorical féerie about the ultimate battle of two generations and their life and (pop-)cultural styles. During the first minutes, the film puts a silly grin on one's face, which does not disappear until the closing credits. At the 2018 Karlovy Vary International Film Festival, the Caban brothers presented the film as their carte blanche, noting that they did not remember the film at all and would like to watch it again (which, by the way, is a great approach to a dramaturgical concept that is obstinately taken seriously). Thanks to last year’s screening of their Don Gio at the same festival, some surprising parallels with the Cabans’ debut became apparent when watching the invigorating and hyper-stylish and meagrely minimalist British musical – mainly in the minimalist film set and avant-garde theatricality, which offsets the hyper-expressiveness of the characters, as well as in the masterful camera work. (12/07/2018)