You can call French auteur Bruno Dumont many things: profound, pretentious, visionary, a master of rural poverty porn, an iconoclast of contemporary arthouse cinema, an overrated bore. One thing you can’t call him is unoriginal.
Every Dumont movie is a new experiment — sometimes fascinating, sometimes infuriating, oftentimes both at once. His previous feature, The Empire, was, of all things, a *Star Wars *spoof filled with sex, snarky humor and tons of CGI, including a Gothic cathedral that transformed into a spaceship. Few people wound up seeing it, but those who did are unlikely to forget it (that is, if they stayed till the end).