The film focuses on the Jacob family that could be described as anti-social. The family itself couldn’t care less what they are called; they don’t care about anything. That is especially true of Jésus (a wonderful role by Thierry Fremont). Jésus and his brother Néné keep themselves occupied with vague criminal activities. In the Elvis café they behave like cool desperados, but at home they sit down at the table with father and mother uncomplainingly. They live for their family and everything beyond is theoretically the enemy. Just like the Dalton family in Lucky Luke the Jacob family is involved in a vendetta with another family. The skirmishes do not generally result in more than a nose bleed, but the film is too racy to leave it at that. Jésus strikes up something beautiful with a girl from the other family and then things really get out of hand. Far away in the real world it is May ’68, but that doesn’t make any difference here.Entirely in in accordance with the milieu, the language is a biting form of argot. The dialogues can compete with the most swinging one-liners from American noir films and the style of the images picks up where the better spaghetti westerns left off. Débutante film-maker Bernie Bonvoisin has used elements from B-films, comic strips and pop music in his film with a strikingly firm hand. The soundtrack is a lust for the ear with well-chosen and effective contributions from e.g. Jerry Lee Lewis, Sonny & Cher, Janis Joplin and Aretha Franklin.
