Bye, Bye Morons, written, directed and starring Albert Dupontel, is a film about two outcasts. Outcasts throwing caution to the wind and living dangerously. Their journey is one reminiscent of the colourful and unpredictable travails of some of the best Cohen or Gilliam creations, coinciding with a subtle critique of social and cultural norms. It’s a smart film, that doesn’t take itself too seriously and has deep respect for its two protagonists, who together become symbols of freedom and perseverance in a world devoid of passion or intellect. Dupontel crafts a depressing portrait of Paris, one filled with oppressive authority figures, a soulless and heavily industrialised city and an indifferent populace glued to their screens. In a world such as this only outcasts are heroes.

Bye, Bye Morons opens with the mirror-like sequences of Suze Trappet (Virginia Efira), being told she is close to death, and John Baptiste Cuchas (Albert Dupontel—working overtime) receiving the news he is being replaced in a job he greatly enjoys. The twin fates of Suze Trappet and John Baptiste Cuchas become the axis in which their stories intermingle. In an inexplicable, yet wildly creative turn-of-events, Suze blackmails Cuchas into helping her find her long-estranged son, of which she gave up for adoption when she was only a teenager. It serves as a compelling bucket-list premise and Suze will stop at nothing to see her son again. Through her pursuit she and Cuchas, who quickly becomes a savvy and resourceful sleuth, sought to track down Ms. Trappet’s son.

Along for the ride is Monsieur Blin (Nicolas Marie, cartoonish and whimsical) a blind archivist who’s fear of police and the judicial system are used to great comic effect. Blin becomes a vital part of the trio, serving as a purveyor of wisdom and levity throughout the harsher moments of the film. Other supporting characters such as an existentialist investigator, a callous employer who stops at nothing to accuse Cuchas of being a blood-thirsty murderer and an over-pontificating physician, all add to the strange and colourful ride of the film.

There are moments however, where Dupontel’s juggle between writer, director and lead actor leave gaps in the final product. For instance, the music throughout feels a tad bland and doesn’t elevate the films tenser or more emotional sequences, whilst occasionally the dialogue feels divorced from the gravitas of its subject matter, especially in regards to Suze Trappet’s connection with her son. Despite these minor shortcomings, Bye, Bye Morons feels cohesive in its bizarre story and its tone is consistently otherworldly, whilst always ensuring its characters are anchored by sentiments of friendship, authenticity and love.

Already a festival favourite, winning big at the recent Cesare Awards, Bye, Bye Morons is sure to achieve some modicum of cult status among movie-goers. Its unique and bizarre ride offers a colourful excursion for the viewer wanting something different from the usual dramatic-fodder or over-indulgent arthouse flick. With Bye, Bye Morons Albert Dupontel has created an authentic and enjoyable romp of a film that will certainly add some brevity to the oppressive atmosphere of COVID and lockdown. Take the ride.

3 and a half stars.