Incredible But True


People buy new homes for all sorts of reasons: sometimes it’s a great view, or a superb location, or a modern kitchen etc. But what if it came with an ability to change your life drastically? And no, we don’t mean an indoor swimming pool, although that would be rather agreeable.

In Quentin Dupieux’s film, he explores some basic passions for many, sex and staying youthful, in a surprisingly lo-fi, sci-fi approach.

boom reviews Incredible But True
I can definitely hear it say 'please don't eat me'...

Looking for a new home are couple Alain (Alain Chabat) and Marie (Léa Drucker). An estate agent is showing them a property, which certainly looks spacious for their needs. He then informs them that this particular house has an impressive, unique attribute that they won’t find anywhere else. So keen to discover what this is, they follow him into the basement.

There they find a hatch, and the agent explains what’s down below. Although sceptical at first, after trying it out for themselves, they decide to buy it. It is an undeniably incredible ability that the house has, one that Marie for sure finds attractive, but as they soon find out, it could be more of a curse than a blessing.

boom reviews Incredible But True
No seriously, this is our new policy on how to handle immigrants.

Anyone familiar with French director Dupieux’s oeuvre will be aware of his skill for presenting the fantastical, as his films Rubber and Deerskin, and his most recent Smoking Causes Coughing are all testament to. And this is no different.

It’s an intriguing premise, one that wouldn’t look out of place in an episode of The Twilight Zone. But also in Dupieux’s capable hands, the premise actually does most of the heavy lifting, at the expense of unnecessary visual effects.

It’s a little odd that the director also adds a sex storyline into the mix, which has no bearing on the main plot, but it does add a little extra colour.

There is a slightly disappointing element to the film, and that’s that the ending comes across as slightly rushed; Dupieux uses a montage to basically tie up any loose endings in a somewhat abrupt fashion. It’s almost as if the film is responding to some of the material regarding the use of time, especially as its own running time is only a zippy one and a quarter hours long. Plenty of time available then to do the film’s finale a little more justice than exists here, or so you would think.

As it stands though, it’s yet another impressive example of the director’s bold creativity and his unique approach to film-making, which is incredible but true.

we give this three out of five