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Fred and Elodie are young and married. They have a little girl called Séverine. They live in a decent apartment in a housing project that is better than most. Fred is a mechanic. He works hard to provide for them all. One day, he comes home to find the apartment empty. Elodie has left him for an older and richer man, who can buy her the expensive perfumes and beautiful clothes that she craves. Fred buys a gun, goes to see his best friend Sandrine and holds up the Post Office where she works. The duo escape together. They spend their first night on the run in a school where they meet Maguette, a huge African man who tells them that he is the "future king" of his native country. Stronger and wiser than they, he soon becomes their guardian angel. Pursued by the police, the trio heads south on the motorway, hunting for Elodie. Condemned to steal to live, Fred, Sandrine and Maguette play at Robin Hood and distribute wads of notes all around. Little by little, Fred learns to notice the world around him and opens his eyes to the love that Sandrine offers him…
The subject of this film is: how can we manage to live in the world we’re living in, where values have disappeared? There are semi-obsessional themes that recur in my work, notably they way we encourage sublimation through culture and love. But, in contrast to “White Wedding,” “Céline,” and “Sound and Fury,” I wanted to deal with people who apparently lack any transcendent quality. If I had to exaggerate, I’d say “Black Angel” was a world without God, an absolute tragedy, while “Les Savates du Bon Dieu” is a world without meaning. That explains the film’s fragmented aspect, its numerous changes of direction, its affectionate yet mocking viewpoint. My characters are pretty untogether, and the basic issue doesn’t really concern the grand metaphysical questions.
Jean-Claude Brisseau, Director