A remarkable
tour de force, simultaneously droll and poignant, burlesque and romantic, tracking the eternal (and nagging) question of good and evil through a pair of comedic bumbling cops and a couple of little kids in love, this immersion into the racist fantasies lurking in an un-bucolic landscape of meadows and manure could do for French television (and Dumont) what Twin Peaks did for the US (and Lynch): coining a new language, tapping into liberating
creative forces.