Yes We Can!
« Un film provoquant et regressif à la Farrelly avec une dimension politique !" — LE MONDE TV
« Une comédie délirante et potache dont le scénario sent le binge drinking ! » — ELLE
Jordan and Michael are two utter losers with not a single good thing going for them — except, perhaps, their self-professed talent for petty larceny, which includes the lame occupation of kidnapping other people’s pets for ransom. But enough of that! One day, as they’re sitting around, doing nothing with the television on, a documentary on President Obama’s roots gives Jordan a most absurd idea, a flash of genius he quickly shares with his partner-in-crime: what if they were to go to Kenya and kidnap the most “bankable matriarch” in the world, namely President Barack Obama’s grandmother, for a ransom of 10 million dollars? A ridiculous plan, granted, but they quickly become convinced they can see it through — and laugh their way to the bank, quite literally.
Dumb and dumber is about to get redefined in this outrageous goofball comedy from writer and director Olivier Abbou, whose 2010 shocker TERRITORIES offered a whole other side of political commentary. Starring Vincent Desagnat and Loup-Denis Elion as an excellent comedic duo and written by Abbou with collaborators Delphine Bertholon and Nicolas Jones-Gorlin (whose 2002 novel “Rose bonbon” stirred controversy in France with its depictions of pedophilia and underage sex), YES WE CAN! is, along those lines, a wall-to-wall politically incorrect extravaganza, a film you watch through your fingers as it consistently pushes, molests and breaks the taboos of what can be show on screen — especially in such an easily offended political climate as North America’s. Produced by the excellent Franco-German network Arte, here comes a film that would have never played in the United States, echoing the French tradition of the buddy comedy by ways of a SOUTH PARK version of the Farrelly brothers, and hints of unexpected brutality. Vividly shot on location by Karim Hussain (HOBO WITH A SHOTGUN, THE THEATRE BIZARRE) and carried by two high-octane performances from Desagnat and Elion as our two vulgar, petty losers, Abbou lauches his characters on an offending rampage in a foreign land of opportunities where gags meet danger for the most explosive of results. Reliving of childhood trauma, gang-run strip clubs, double-crosses, altercations with German tourists and doppelgangers await — but nothing to distract for their ultimate goal. Can our two loveable nitwits kidnap Obamama while offending as many as possible? We think you know the answer to this one.
— Ariel Esteban Cayer