Coincoin et les z’inhumains
FEATURING: , , , Alexia Depret
PLOT: Four years after the events of Li’l Quinquin, Quinquin (now Coincoin) has grown up and joined a far-right political group, while Commandant Van der Weyden investigates a mysterious black tar that is falling from the sky and a plague of doubles showing up in town.
WHY IT MIGHT MAKE THE LIST: If Li’l Quinquin was worthy of consideration, then his equally odd brother Coincoin must be, too. Too bad we can’t mash Quinquin and Coincoin together into a single seven-plus-hour festival of Gallic strangeness.
COMMENTS: A lot has changed in the Côte D’Opale since we last visited Quinquin; and yet, nothing has really changed. Sure, Quinquin is now a strapping teenager who goes by “Coincoin” (like so much else in this world, the change in nomenclature is left a mystery). His old love interest, Eve, is now into girls. The outsiders are now undocumented Africans living in shantytowns on the outskirts of Calais instead of suburban Muslims. And no one worries about dead bodies found inside cows anymore; they’re more concerned with the black goo that’s falling from the heavens, usually splattering the cops at inconvenient times. But though the case may have changed, the tic-ridden Commandant Van Der Weyden and his foul-toothed assistant Carpentier are still on it. Their cruiser still tilts up on two wheels (in fact, it does so much more often). The townsfolk are still quaintly thoughtless and provincial. And there still is no resolution or logical explanation as to why this quiet French outpost is the locus of so much metaphysical weirdness. Most importantly, the project feels exactly the same: eccentric, tone-shifting, with little surreal jaunts off the beaten path, like Season 1 “ ” set at an out-of-the-way beach resort.
As for the weird bits: there’s a scene where CoinCoin can’t figure out how to kiss Christ, some blackface, a man attacked by a gull, and “clown” clones, not to mention the bizarre alien invasion (if that’s what it is) and a surprise at the end that I won’t spoil. Few of the comic bits—which stray close to border of anti-comedy—are funny in themselves; they only succeed through a relentless repetition that demonstrates Dumont’s sincere commitment to his style. Repetition is itself often the meta-joke: Carpentier does his “two-wheel” trick so often that his Captain complains it’s getting annoying (then continues to do it for several more episodes); doppelgangers are switched in mid-conversation so that conversations repeat themselves over and over and over. Meanwhile, Coincoin’s own plotline (now clearly secondary to the antics of the gendarmes) is almost entirely a realistic coming-of-age story; the boy is concerned with girls, mischief, and peer pressure, oblivious to what increasingly looks to be a modern Invasion of the Body Snatchers-style crisis until the events of the fourth episode force him to pay attention.
It’s hard to explain why Quinquin/Coincoin‘s blend of low-key absurdism, social awkwardness, grotesquerie, political swipes, and rural drama works; it seems like it shouldn’t. But it captures the Western world’s current mood of ambivalent anxiety as well as anything out there. An apocalypse is coming—maybe—and it’s actually sort of funny—a little.
Although it’s mostly of interest to those who saw the first miniseries, there’s no reason you can’t jump straight into this sequel first if you like.
The four episodes of Coincoin and the Extra-Humans are currently screening as a single long feature at the French Institute Alliance Française in New York City through July 28 and at the Museum of Fine Arts in Boston on July 26 only as part of the Boston French Film Festival. Lil Quinquin played Netflix briefly after its release, but is now streaming on the Criterion Channel. That seems like the likely eventual landing spot for Coincoin once its brief theatrical run concludes. We’ll keep you updated.
WHAT THE CRITICS SAY:
“Dumont hasn’t been a comedy director for very long but it now seems impossible to imagine a world without his endearingly ridiculous sense of humor and his genuine love for his affably weird protagonists. Dumont’s comedies are a gift we were never promised and now they’re something we should never have to live without.”–Scout Tafoya, RogerEbert.com (contemporaneous)