Gardens in Autumn

Opening with a wonderfully funny scene in a coffin factory, Iosselliani’s typically eccentric and enjoyable comedy deploys a meandering narrative made up of primarily visual (as opposed to verbal) scenes to chart the progress of a government minister sacked for some unspecified error (or, more probably, mere negligence caused by what seems to be a bizarre obsession with farm animals). Abandoned by his wife, unforgiven by his mistress, his home taken over by a host of African squatters, he takes refuge with his ancient but still adoring mother and with drinking pals of every hue. Subtle, slily subversive, and boasting countless delightful sight-gags, this is absurdist/surrealist movie-making at its most poetic, stoic and sceptical of political change. As often, Iosselliani himself contributes a droll portrait of a boozy gardener, though the laurels surely go to Michel Piccoli, clearly enjoying the role of a lifetime.