Dupieux is an important director, and “Keep an Eye Out” is quite in its meaningful style, even if it is a minor addition to its filmography. The main “plot” of his scenario of filing a police report naturally begins with a man in a speedo leading an orchestra in a field, before being chased away by cops. Illogic is the key here, as with his previous films, but don’t mistake him for a performer. In almost every other movie, creating a police report would bring stability and focus, but this one is being filled in by Buron (Benoît Poelvoorde), who is stupid despite his cop exterior. harsh, and irritated by the boring details of the story despite wanting to get it right. He also has a whole in his stomach where smoke comes out every time he pulls a cigarette.
A semblance of normalcy comes from Fugain (Grégoire Ludig), a stranger to this strange world at the police station, who seems to have something he hides behind a calm and an interest in doing away with it. This is the man who found a bloodied body and called 911, making him the subject of Buron’s glares during their extended interview. Fugain’s story involves seven elevator trips in one night, and he tells them step-by-step to Buron, flashbacks that blend into the visuals he encounters at the police station. There’s an early break, during which Buron leaves Fugain under the watchful eye of a cop named Philippe. That Philippe indeed only has one eye doesn’t mean much, apart from the way Dupieux previously had a cop with an eye patch in “Wrong Cops”. Philippe is too obsessed with showing his badge and exits the film in a burlesque way.
None of this nonsense is fun (it isn’t meant to be), and the eerie rhythms of the dialogue blend into the procedural nature of the script and its occasional sides. This is the way Dupieux treats these characters in his cinema for the attentive stoner. It’s about stretching and normalizing how weird things can be, whether it’s a weird action by a character (like when Fugain bites into an oyster like a hamburger slider) or ‘a strange development regarding how the reality of one scene is the hallucination of the next scene. He feels incredibly flooded with consciousness, with only a few narrative ideas preventing him from soaring into the stratosphere. Dupieux’s cinematography remains interested in futzing with conventional angles – Fugain and Buron’s report is covered with every type of over-the-shoulder angle possible – but the dialogue-driven nature is looser than it is. ‘habit, despite how you have to hang on to every word and wait for left turns. Unlike the speedo-driver’s opening chase, the film lacks momentum and makes Dupieux’s interest here for the ordinary seem like a bad idea.