Zoé Wittock has not chosen the easy way for her first feature film. A movie about a cleaning lady falling in love with an amusement park attraction: it sounds like a bad joke. But in fact, Wittock takes it quite seriously. The film is appealing because of the way she tells the story: the love affair is not shown in a problematic or laughable way. It's just a little bit different and out of the ordinary, that's all.
The other good thing about this film is the lead actress. Noémie Merlant is excellent as the shy girl Jeanne, who is happier in the company of a colourful machine than when she is spending time with other humans. Those who have seen her as the painter in 'Portrait d'une jeune fille en feu' will admire her versatility even more.
The strange relationship between woman and machine is shown in some very good scenes, one of which, suggesting even sexual emotions, really stands out for its creativity.
The flip side is that, apart from the subject matter and the lead actress, there is not so much special about the film. The other characters are not well developed, the story is rather thin, and the ending feels a bit contrived. This is a nice little movie, with a healthy dose of weirdness. But one unusual idea is not enough to carry a whole film.
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rubenm15 May 2020
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BandSAboutMovies6 September 2021Jeanne is a withdrawn and shy woman who works in an amusement park, yet has not yet come to terms with being an adult. Has she been in love before? Does she have plans of leaving the home of her mother? And why is she so fascinated by lights and carousels?
However, she soon falls in love with a newcomer to her place of work. Spoilers on, but in case you didn't guess, she falls in love with Jumbo, the new ride at the park.
Remember when that dude wanted to sleep with Airwolf? Yeah, that's a real thing. Objectophilia is when you go beyond simply enjoying objects and begin to have deep attachments to them. The kind of attachment that makes you want to make love to them. I mean, if you clean a ride and it begins to make sounds and blink, obviously it is returning your affections.
This is one of those movies that asks that you make this narrative leap with the film. Can you accept the love between human and object? If so, then you'll be rewarded by what follows. And if not, well, maybe a more traditional love story is something you should watch.
Jumbo attempts to explain why Jeanne feels the way she does. But can any of us really explain love? Why does the heart want what the heart wants, even if it's to lick the oil of our lover off the floor and communicate in beeps and lights? Maybe those noises and colors are a closer tie than most of our inter-human coupling have anyways.
So yeah, when Jeanne's mom Margarette wants her to find a really nice guy, maybe she didn't consider that a Tilt-A-Whirl would be that man. Guess who's coming to dinner? Hope you like food on a stick, I guess.
This is writer/director Zoé Wittock's first full-length feature. I feel that this has enough ideas to work as a short, but you can't fault that she went for it. Here's hoping for more bright lights and beeps in her future. -
This film explored through objectum sexuality themes associated with intimacy, single parenting and fenale sexuality/desire in mature age, bullying, and invalidation: others deciding whats right without the knowledge to understand or empathise with a young woman's struggle to accept her sexuality. Objectum sexuality or erotic attachment to inanimate objects is seen as strange or unfamiliar by most people in society. The uncomfortable subject matter: eroticism and masturbation wasnt well addressed until an older, marure aged male boyfriend of the mother questioned the mother's aggression and lack of empathetic listening "to" her daughter's needs for support. I think loosely based on a true story the attachment to an amusement park ride was unsettling and at time frightening and I assumed as an audience member this was purposeful to reveal to me both the feelings of struggle within the young woman and hiw frightening they seemed as well as the social judgement and terrorising the ordinary young towns people became when faced with difference beyind their comorehension and masculinity. The young woman's sexuality questioned femininity, acceptable norms cultural and social, madculinity as well as marriage. She wanted acceptance and support. What does this film say about us, as humans who watch and often dont act or respond with responsibility and care towards others?
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dominic-894-4289545 April 2021The majority of the film is shot in the dark, long scenes of barely lit rooms or locations that you cannot really make out. This reflects the tone for the rest of the film. Woman with useless mother "falls in love" with fairground ride and then marries machine. Thats it.
Reading other reviews clearly implies that I am not "open" and miss the point. I imagine the point is something to do with "most men are less expressive of emotional connection so may as well marry a machine". Throw in a little useless maternal contempt and, sure why wouldn't anyone reasonably conclude that a JCB is more reliable. I'd rather marry my blender than watch this again. -
achmoye11 August 2020Zoé Wittock is already known for "Portrait d'une jeune fille en feu" which also features the main actress Noémie Merlant.
I loved Jumbo and the objectophily is treated with as much respect and sensitivity as Zoé could. Jeanne is shy and fragile, different than the others schoolgirls like her, and she gradually feels spellbound by this big attraction, which she calls Jumbo. Jumbo is full of lights and it's a pretty intense attraction so Jumbo can actually make her feel something than nothing else can. So the emotional aspect is not just totally inside Jeanne's head ; there is also Jumbo's part, and even some surnatural, maybe symbolic animation from the object, but it's very poetic and discrete. I love the way this was handled, with much parcimony. There is a clear message at the end, an incentive to make us respect this special sexuality that really isn't bothering any one except the most narrow-minded. Jeanne only asks one thing, to be left alone and spend some time with Jumbo, but somehow this is too much to ask the whole society is despising her, it's really frustrating to watch, with still a positive shift at the end. There is even interesting aesthetics and photography, with the sensuality between Jeanne and Jumbo, without ever falling into graphic sexuality. It's subtle and beautiful. We must salute the director's initiative because this is a very touchy subject and she went all-in to propose us something new, something original and different. This is what I want to see in cinema. Anyone can appreciate this, I recommend. -
callibea-562-10399616 January 2022Beautiful film. A metaphor for all types of human conditions, which opened eyes and questions. A subtle piece of writing (& directing) and told by a talented cast. I really like it.
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shuj_hussain1 October 2020Entertaining watch, with an interesting storyline and EVEN BETTER score! The film stands out. Especially if you think everything has already been done before.
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westsideschl26 November 2021Credits start with inspired by a true story, but never explained what was the "true" part. But, in special features it's explained that one inspiration is about people who fall in love with inanimate objects. Anyway, a young woman possibly with a developmental disorder or more likely Objectophilia (in many cases results in marriage) falls in love with an amusement park ride. A question for the viewer is what are the boundaries of love. Does she fantasize a personal bond or does the ride have a human level consciousness?
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derek-duerden21 December 2021Credit here to the director and the cast with their commitment to following through on this premiss and its relatively happy conclusion.
Definite echoes of Under The Skin at times and presumably allegorical with pleas for acceptance - really enjoyable. -
The premise is very curious, to say the least. I assume this is what draws most people into watching, though in fairness, after seeing Noémie Merlant's breakout performance in 'Portrait of a lady on fire' I trust her implicitly. Despite the quirkiness of the central conceit, however, there are wonderful depths to 'Jumbo' well exceeding what I ever could have imagined before watching. We're initially greeted with airs of a modern indie romantic comedy-drama before the primary notion - protagonist Jeanne falling in love with an amusement park attraction - is introduced surprisingly early and rather brusquely. Yet that shift is curt only to make room for the meaningful substance to follow. There are familiar elements in the narrative: an introverted and misunderstood young woman who herself doesn't fully understand what she's going through, less so because she has no frame of reference; a mother who loves fiercely but who has no filter. We see the failure or refusal of parents, or those of an older generation, to understand youths, and especially who and how they love, or to love unconditionally; the obnoxiousness and callous cruelty of others, whether strangers or loved ones; the piercing barbs of suggested mental illness at the first hint of nonconformity. That the recognizable narrative dynamics of romance are applied to a story of objectophilia is a very interesting idea; that filmmaker Zoé Wittock also infuses an artfulness gladly recalling in some measure Julia Ducournau's 'Titane,' or even more relevantly Natasha Kermani's direly underappreciated 'Imitation girl?' Well, I for one could hardly be more pleased. Simply put, this is superb, and much better than I'd ever have assumed sights unseen.
The premise could have been taken in any direction, and not knowing anything about it otherwise - not even the cast - I rather anticipated a straight comedy of some variety that would play it up for laughs, and probably punch down. I'm so very happy that Wittock approached the story with utmost heartfelt sincerity, exploring the concept and underlying themes as fully as she could. Honestly, the screenplay is outstanding, overflowing with real, meaningful dialogue, characters, and scene writing; the narrative is deeply engrossing and impactful in a way that countless films of a more conventional slant often fail to achieve. This may only be Wittock's first full-length feature as writer or director, yet she demonstrates impeccable skill and intelligence in shaping it well beyond what her relative inexperience portends. I would stop short of saying this is perfect, as the writing is a little heavy-handed at points (one major example being how Hubert is written), and the ending feels a little off-key compared to the tone and flow that 'Jumbo' had otherwise been fostering all along. Yet by and large this is conjured and crafted with supreme love, care, and earnestness, and the end result speaks for itself. Why, emphasizing the point: with every role she has taken on Merlant proves herself time and again, but next to 'Portrait of a lady on fire,' this might genuinely be the best performance she's given yet. Merlant demonstrates tremendous range, nuance, and emotional depth in her portrayal of Jeanne, and she arguably does even more than Wittock to make this the stirring, significant picture that it is.
And of course this is well made in every other capacity, as one should expect of most any movie. Emmanuelle Bercot definitely stands out with her strong supporting performance as fiery mother Margarette, which is hardly to discount other cast members like Sam Louwyck or Bastien Bouillon. Thomas Roussel's original music mostly sticks to the background but lends to the mood at any given time and is easy on the ears; the select few songs on the soundtrack are themselves a joy. The costume design, hair, and makeup are lovely, and cheers to whomever was operating the amusement park ride as scenes required; the lighting, and those effects that are employed, look fantastic. Thomas Buelens' cinematography and Thomas Fernandez's editing are able and sharp in helping to construct the film as we see it. And so on, and so on. Again, however, I think it's beyond question that top marks here go to Wittock as both director and especially writer, and to Merlant for an incredible show of acting that further cements her deserved reputation. I hope for more great things to come Merlant's way, and after watching this, I very much look forward to seeing what Wittock does next. It bears repeating that 'Jumbo' isn't entirely perfect, but the strength it can claim handily outweighs the criticisms that I think one can make of it. I didn't expect much going in, and I'm kind of blown away at just how very good it ultimately is. I can understand how such a title won't appeal to all, but this boasts a level of quality that supersedes personal preferences as far as I'm concerned. 'Jumbo' is a delight of a dark horse, and for my money this is well worth checking out if you have the chance!