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Ange fails an audition which is crucial for his career. In despair, he goes to call on Concepciòn, a struggling 30 year-old Spanish actress he recently met. To his surprise, he lands in the middle of a dinner party of movie celebrities. Baffled and disoriented, Ange finds himself and Concepciòn playing the role of real-life hostage takers.
To reduce “Foul Play” to a tell-all game involving a handful of celebrity actors would be to get it wrong. It is first and foremost a story about humanity. When the film goes over the top, as it occasionally does, it is always in a way that seems natural, a bit like the films of Mocky, who never made a virtue of sobriety. Dridi sets out to strip down the mechanisms of social humiliation in whatever milieu it occurs. He also sets out to tell a modern love story, set in circumstances that are actually quite down-to-earth and universal, no matter how outlandish they may seem. It is also about trusting the tool of cinema, for better or for worse, in all its magic and rawness. A straightforward film-maker, Dridi also knows how to have fun with flair, as can be seen in the unforgettable “magic mushrooms” sequence. “Foul Play” is a complicated film by a guy with ideas, bouncing with rare health and overpowering at times, but only because it’s so affectionate. And of course, that’s exactly why Karim Dridi is so interesting — because he’s impetuous. (Olivier Séguret in “Libération”, November 25th 1998)