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“French-based Georgian director Otar Iosseliani, philosopher and farceur , remains the most distinctively mischievous provocateur of European cinema, but does it with such casual charm that he makes it seem easy” (Jonathan Romney). His latest, JARDINS EN AUTOMNE, is as playful and irreverent as it is masterful; its opening scene, with men of drastically different heights (one of whom is played by legendary Cahiers du cinéma critic, Jean Douchet) bickering over the purchase of the same-sized coffin perfectly sets the tone for this delightful modern-day fable. Vincent, played by the virtually unknown but extraordinary Séverin Blanchet, is a deposed Minister who regains his joie de vivre in the autumn of his life. Ousted by the people, stripped of his title and the power and lavishness that went with it, and dumped by his gold-digging, shop-a-holic girlfriend, Vincent is suddenly free to encounter the salt of the earth. Channeling Tati, Buñuel, and La Fontaine, the film unfolds in a series of lyrically orchestrated misadventures involving dignitaries, squatters, lovers, boozers, artists, and the usual Iosseliani menagerie - all of whom Vincent comes to embrace with his newfound humanity. With flawless cinematography by Rivette regular William Lubtchansky (LES AMANTS REGULIERS, SICILIA!, HISTOIRE DE MARIE ET JULIEN, VA SAVOIR), plenty of jabs at certain fashionable French filmmakers, a small role by Iosseliani, and Michel Piccoli as you've never seen him before, JARDINS is a cinephile's delight, made by one of the world's most underrated, intelligent, and cheeky directors. AP
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