Robert Mitchum Est Mort

Robert Mitchum Est Mort is a dark, offbeat comedy-drama by French director Pierre Le Roch. The film weaves a narrative around Franky Pastor, a faded actor struggling to come to terms with his fading career. With a knack for self-destruction and reckless behavior, Franky's life has descended into chaos, much like his once-promising acting career. The protagonist is a complex individual, portrayed by the charismatic Olivier Rabourdin, who embodies both Franky's flaws and vulnerabilities. Franky's kleptomaniac manager, Arsene, played by the enigmatic and unpredictable Denis Podalydès, is the only one willing to stick by Franky, despite his antics and addictions. Arsene is a rock manager-turned-life coach, with an unorthodox approach to helping Franky. He sees potential in his manager and convinces him to join him on a road trip to the Polaris Film Festival at the North Pole, a quixotic endeavor that might salvage Franky's career. This impromptu voyage becomes their "last-chance" opportunity to reinvent their lives and revive Franky's flailing career. They embark on a cross-country trip through France and Europe, in a stolen car, which provides a metaphor for their own precarious situation. Along the way, they encounter a group of eccentric travelers, misfits, and lost souls, all of whom are drawn to the allure of the Polaris Film Festival, an event that promises to bring together a motley crew of filmmakers, stars, and industry insiders. Arsene's vision for the trip revolves around securing an audience meeting with none other than the renowned film director, Éric Rohmer's alter ego, François Truffaut – a nod to French New Wave cinema. This is a pipe dream, but Arsene believes they can turn their lives around by capitalizing on this chance encounter. Through conversations and encounters along the way, Franky starts to confront his addiction and self-destruction, all while questioning his life's purpose and his sense of self-worth. As they near their destination, the Polaris Film Festival, their journey becomes increasingly surreal, taking on the feel of a road movie odyssey. They get lost, experience car troubles, and get embroiled in bizarre misadventures, but it's not the destination that ultimately matters, but the transformative journey itself. Along the way, they form unexpected connections with the people they meet, and the trip serves as a catalyst for growth and self-discovery. The supporting cast includes a range of intriguing characters, each with their own backstories and motivations. Among these characters are the young and ambitious filmmaker, Sylvain, whose dedication to making meaningful cinema stands in stark contrast to the commercialized nature of the Polaris Film Festival; Franky's on-again, off-again flame, Lola, who's trying to escape her own troubled past; and the sinister and menacing Pierre, a man with an ulterior motive for attending the festival. Upon arrival in the isolated and wintry atmosphere of the North Pole, the Polaris Film Festival turns out to be a facade, a shallow event devoid of genuine substance. This revelation highlights the superficial nature of Franky's ambitions and the empty promises that have driven his entire career. Despite this bleak revelation, Franky's odyssey reaches its culmination as he confronts the truth about his own addiction, his flailing career, and his existential predicament. Ultimately, the film leaves the viewer pondering the complexities and mysteries of life, as Franky embarks on a path towards redemption, self-discovery, and potentially a new beginning.