What would life be like after a global apocalyptic event or would there be any life at all? It is certainly a topic that has inspired filmmakers to create an entire subgenre upon the premise. Some of the more famous and/or infamous efforts have usually focused on a handful of survivors like Arch Oboler’s low-budget message melodrama Five (1951), Stanley Kramer’s On the Beach (1959), the interracial menage-a-trois of The World, the Flesh and the Devil (1959) and Roger Corman’s similar three-character B-picture, The Last Woman on Earth (1960). Other variations have been more epic in scope and ambition with a distinct sci-fi/horror approach like the various film versions of Richard Matheson’s I Am Legend, The Road Warrior (1981) and other Mad Max sequels and clones as well as post-apocalyptic zombie flicks like World War Z (2013). Comedies about life-after-the-bomb, however, are a rarity but probably the weirdest and most deeply cynical of them all is The Bed-Sitting Room (1969), directed by Richard Lester.
Do you like knowing what to expect when you go to a movie? Some moviegoers like everything laid out neatly and wrapped up at the end with no ambiguity. But when the director’s intentions and directorial choices are never made obvious or explicit, it can result in a baffling but memorable viewing experience. Welcome to Serge Bozon’s La France (2007), which had been widely praised at various film festivals (it was nominated for two awards at the Cannes Film Festival), but never made much of an impact on U.S. film critics and moviegoers.