Screened as part of NZIFF 2021

Mandibles 2020


Directed by Quentin Dupieux Incredibly Strange

Two amateur criminals discover a monstrous fly in the trunk of a stolen car. Their plan? Train the fly and make a fortune in this joyously absurd buddy-fly bromance.

Nov 05

Embassy Deluxe

Nov 08
Sold Out

Embassy Deluxe

Nov 12
Sold Out

The Roxy Cinema 1

Nov 17

The Roxy Cinema 1

Nov 24

Embassy Deluxe

France In French with English subtitles
77 minutes DCP


Director, Screenplay, Cinematography, Editor


Grégoire Ludig
David Marsais
Adèle Exarchopoulos
India Hair


Hugo Selignac
Vincent Mazel




Busan 2020; Rotterdam 2021


French absurdist Quentin Dupieux has formed a formidable body of comedic work since his international breakout, the sentient killer-tyre movie Rubber. Mandibles, the follow-up to his wild, obsessed-jacket movie Deerskin (NZFF 2019) may just be his most accessible and amiable excursion into asininity yet.

Manu and Jean-Gab are two nice-but-dim amateur crims on a dodgy errand when they discover that inside the boot of their stolen car is a gigantic housefly. You read the right. A two-foot insectoid behemoth; Sacre-buzzy-bleu! These geniuses decide the best way to capitalise on this remarkable discovery is to train the fly to perform and make them a fortune. Like a Gallic “Stupide et Stupider”, Mandibles rejoices in such pure idiocy that it becomes something delightful as we watch our two anti-hero doofuses stumble through various encounters before running into Cécile, who mistakenly remembers Manu as a long ago one-nighter. She invites the two bozos to hang out with her brother Serge and friends Sandrine and Agnès at a stunning mansion.

As this absurd buddy-fly bromance movie escalates, Dupieux deceptively injects some tension into the oddball fuzziness by peppering the film with promises of unhinged psychodrama that never play out quite as expected. — AT

“Though Dupieux’s films have never shied away from violence and destruction, Mandibles preserves the filmmaker’s penchant for perplexity while asserting that life is a glorious thing – even in its distasteful weirdness.” — Natalia Keogan, Paste