• Nicolas Bedos replaces Michel Hazanavicius behind the camera for “OSS 117- Red alert in Black Africa”.

  • Jean Dujardin finds his role as an undrinkable spy against Pierre Niney and Fatou N'Diaye.

  • The film questions the viewer on the notion of political correctness.

It's always a pleasure to meet Hubert Bonisseur de la Bath, alias Jean Dujardin! 

OSS 117: Red Alert in Black Africa

, by Nicolas Bedos, is finally released in theaters after having been repeatedly postponed due to the Covid-19 crisis, and having been presented on the closing night of the Cannes Film Festival.

"My film is exoticism, adventure, transgression,"

the director of

La Belle Epoque

, who replaces Michel Hazanavicius behind the camera,

told

Première

magazine

.

A good summary for this crazy story, which confronts OSS 117 with African conspirators, and which is in the worthy line of the previous opus.

The novelty does not undo the franchise

Let it be said, 117 has not changed, that's what makes its charm and its fun! The spy is always dumb, misogynistic, racist and content with himself. Nicolas Bedos shows him even more odious in his “beauferie”, which Jean Dujardin makes always more delectable. Unable to comply with the changes in manners of the 1980s, the hero, described as a

has-been

, is more than ever happily unbearable. His cheekiness, his homophobia and his xenophobia always constitute excellent comic springs.

But OSS 117 is faced with other strong natures. Bedos has added to his hero a delectable Pierre Niney with his blonde dandy wig, in the role of a young spy in his 1980s seducer moccasins. Fatou N'Diaye also shows a sacred character, as a rebel ready to all sacrifices for freedom. The hero's brand image and virility are severely damaged by these two new characters, who contrast with his macho behavior.

Nicolas Bedos taps into political correctness with great energy.

OSS 117: Red alert in black Africa

remains faithful to the spirit of the saga.

Although frankly out of date, the aging spy makes his law reign, even if it means sacrificing relatives on the altar of more than doubtful principles.

The character even becomes downright unsympathetic in his choices as in his actions.

This is what makes Nicolas Bedos' approach interesting by leading the viewer to wonder about what makes him laugh (or not).

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