The last time I interviewed Todd Solondz—one of independent cinema’s most acidic provocateurs—he joked that his agents were thrilled with his black comedy “Dark Horse” “because there’s no child molestation, masturbation or rape in it.”
Yvan Attal huddles on a velvet couch in a corner of the cavernous Chateau Marmont lobby, a study in nervous energy. The Israeli-born French actor-director, who is charming if energetic, furrows his brow and runs his fingers through his tousled black hair. It's not hard to believe that one of his film idols is Woody Allen ("I identify with his neuroses") or that he makes films that serve as personal therapy.
Consider his new dark comedy, the frenetically paced "Happily Ever After," which explores his midlife crisis. He got the idea in 2003 when he dropped his son off at preschool and noticed most of the other parents were divorced.
"I began thinking about my own life and the choices I have made, and they felt enormous and scary," he said.
"Divine Intervention" has been embraced by European and most American critics as a brilliant absurdist comedy, recalling the style of French director Jacques Tati, and the silent movie performances of Buster Keaton and the early Charlie Chaplin.