CANNES — Dishing out another slew of colorfully anarchistic sight gags, Belgium-based trio Dominique Abel, Fiona Gordon and Bruno Romy are back with their latest Keystone-style romp, The Fairy (La Fee). Firmly grounded in the work of Chaplin, Keaton and especially Jacques Tati, to which they add a few welcome socio-political twists, these talented writers-directors-actors should have their wish granted with further arthouse exposure following an opening bow in the Cannes Directors’ Fortnight.
Set in the gloomy port city of Le Havre, the film kicks off with its most successfully extended number when we’re introduced to a hotel night clerk, Dom (Abel), who’s pleasant soiree in front of the TV is interrupted with the arrival of an English tourist (Philippe Martz), and then of a svelte, shoeless woman (Gordon), who claims she’s a fairy and grants Dom three wishes. Like any self-respecting Frenchman living outside of Paris, Dom asks for a scooter and an endless supply of gas, and though he gets his wish, what he really wants is the love of the fairy herself. Continue reading