There is a hefty dose of existential irony in “The Other Laurens,” as director Claude Schmitz gives a wink and a nod to the French New Wave films of the late 1950s with his tale of fantasy and crime noir. There’s something very Lynchian in his artsy, deadpan, and unique visual and narrative style, which makes this genre-blending film a worthy homage that also feels wildly original.
In this mystery story, private detective Gabriel Laurens (Olivier Rabourdin) must face the ghosts of his past when his niece Jade (Louise Leroy) begs him to investigate her father’s (and his twin brother’s) supposed accidental death. The two start up a probe of their own, uncovering a strange underworld of violence, drug trafficking, wealth, and deceit.
The film features elements of American action thrillers, European arthouse cinema projects, B-movies, comedies, and film noir. Schmitz presents these in an engaging way, dismissing classic narrative structures and storytelling. His film features the standard femme fatale, private detective, and corrupt cops, but the bizarre dark humor, ironic fantasy elements, cynical demeanor, and intriguing mystery at the core of his story set the tone. It’s a strange film, but one that’s memorable for all the right reasons.
Rabourdin and Leroy give excellent performances, and their onscreen chemistry is perfectly meshed. Jade is a young woman enclosed by father figures who are all harmful, but she’s strong and determined. Her uncle is a down-on-his-luck man who specializes in adultery cases who now has to investigate his rich twin brother’s shadowy death. It’s a pairing of two very different characters that work well within the confines of the story.
With the good fortune of an excellent script, strong performances, and skilled direction, “The Other Laurens” is one of the better films to come out of Cannes this year. It’s very European (including one of those trademark downer endings), and I mean that in the best possible way.
By: Louisa Moore
Screen Zealots 
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