Guy Maddin, Evan Johnson, and Galen Johnson return for another collaboration with their black comedy Rumors, which premiered on day 2 of the New York Film Festival.
Rumors is a politically absurdist romp that follows seven world leaders at the G7 summit as they mistakenly believe they’re experiencing a zombie apocalypse in the German forest. Blending dark comedy with an anachronistic soundtrack reminiscent of 80s melodrama underscores the dreamy, visual language that deviates from the directors’ previous works, Rumors presents a world where its leaders devolve into childlike figures, struggling to navigate a crisis that may not be what it seems.
As the story unfolds, it revels in low-brow yet undeniable gags, all while subtextually underscoring the dangers of ignorance among those in power. In Rumors, the US President, a caricature of current President Joe Biden played by Charles Dance, provides many laugh-out-loud moments, aided by clever visual gags and NYFF’s ready-to-laugh audience. However, as the film progresses, the initial momentum fades, leaving viewers longing for a more impactful conclusion.
Executive Produced by Ari Asterand helmed by Guy Maddin, Evan Johnson, and Galen Johnson with Cate Blanchett as to billing, Rumors delivers big laughs in its opening acts. The film exists in a similar satirical world to those created by Ruben Östlund but separates itself with its immature irreverence evocative of Adult Swim, expertly capturing that boyish sense of humor. Yet, as the nearly two-hour runtime stretches on, the momentum begins to falter, and the sharp punchlines that initially captivated the audience start to wane.
Visually, the film excels with clever gags and a well-crafted camera eye. The use of black-and-white flashbacks evokes classic horror while maintaining a playful edge. The reval of the world’s most powerful elites as totally divorced from the reality outside their stations strikes a comedic chord, leading to contagious laughter throughout the screening.
However, beneath the laughter lies a cautionary tale. The film’s infantilization of its characters serves as both an escape and a critique, displaying the absurdity of fumbling Presidents and Prime Ministers navigating the woods as they perceive an apocalypse all around them while ignoring the real horrors of the world. While the concept of an AI villain adds a modern and pressing twist, particularly the late reveal of the giant brain effectively debunks the dramaturgy as previously established.
Rumors can be likened to Ruben Östlund’s satire without any detachment, making it a more whimsical but ultimately less impactful experience as the film concludes. While it undeniably entertains, the lack of a significant final plot punchline leaves something to be desired, making it a fun yet flawed exploration of leadership in a time of crisis. In the end, Rumors is a quirky, enjoyable film, but fails to deliver a strong enough payoff to match its early excellence.
