This was probably one of the most French movies I’ve seen in a long time. The final film of Polish director Andrzej Zulawski, the film tells the story of Witold, a law school dropout obsessed with writing a garishly romantic novel. He and his friend Fuchs end up at a rural inn run by a family just as crazy as our protagonist. Mrs. Wojtys is prone to outbursts of screaming only to freeze in place for a few moments after. Her husband Leon is an insane retired banker who is constantly twisting around language. Her daughter, Lena, becomes the focus of Witold’s obsession and comes to despise her pretty boy architect husband. He also holds an obsession with the housemaid, Catherette, who suffers from a lip deformity as the result of a car accident. Throughout the story is the ongoing mystery surrounding a bird found hung by its neck in the garden behind the house. The film meanders through the inn and the group all end up at a seaside cottage for the finale, chasing each other through the woods with lanterns.
To say Cosmos caused major confusion as I watched it would be an understatement. There is very little plot to the film beyond what I described. The majority of the picture consists of Witold exploding in wildly emotional monologues either while typing out his novel or lamenting and pining over the unobtainable Lena. I personally love films that challenge narrative structure and experiment, but moments of Cosmos went so far over the top it lost me. Scenes play as vignettes that don’t really add up to a meaningful whole.
The acting was wonderful due in part to how free and insane the characters were meant to be. Sebastian Genet as Witold did an incredibly convincing job of portraying a comically angsty poet/philosopher. He even made the stranger moments captivating enough to keep me engaged. Early in the film, he has a moment where he faces the camera and repeats the phrase “The savage power of stupid thought” over and over in a Donald Duck voice, looking like he is both on the verge of tears and bursting out laughing. In many ways, that phrase serves as the thesis statement of the film.
The film was packed with references to authors and figures of note in the arts. This becomes part of the word play with Witold referring to Sartre’s Modern Times, only to have Fuchs mistake it for the Chaplin film of the same name and proceed to perform the waddle of Chaplin’s Little Tramp. The crazy old man Leon overhears a conversation about films and chimes in with “Spielbleurgh” (bleurgh being an expression of disappointment) which leads to a sort of pun competition between the man and Witold to plug bleurgh into a litany of other names (Bleurghman). I seem to recall another of Leon’s bizarre turns of phrase being “When an icicle mounts a bicycle it becomes a tricycle”. *Shrugs*
I was never bored by Cosmos but I was pretty strongly confounded for 90% of it. It is a movie that has a very strong forward momentum, that momentum is just leading you to nowhere, but that is on purpose. By injecting things like the hanging bird mystery into the film Zulawski almost seems to be daring you to try and make sense of this absurdity. The film does manage to capture the chaotic nature of creativity through Witold’s mad outbursts of typing as his novel becomes more and more about recording his angst. Most definitely a film that does not have wide audience appeal, but then not all films should. If you are wanting to be challenged and confounded Cosmos is certainly up to the task.