The improbable primitive arrives in France: a bestial UFO to see on Paramount +

Riley Keough and Jesse Eisenberg are big footballs in this poetic and crazy farce.

Presented last year at Sundance festivals, Berlin, South by Southwest and in the Champs-Élysées, the new film of the brothers Zellnerproduced by Ari Asterfinally arrives in France.

Primitive (alias Sasquatch Sunset in VO) will be visible exclusively on Paramount + with us from the July 6 Streaming.

Riley Keough And Jesse Eisenberg form a wild and touching duo in Primitive an absurd and poetic comedy.

Still little known to the general public in France, the brothers Zellner stands out as major figures in American American cinema. After making several episodes of the unclassifiable series The Curse (also with Emma Stone and available on Paramount+), they continue their exploration of an atypical cinema, on the border between social satire and surreal fable.

In Primitivethey plunge us In the heart of a North American forestwhere a family of Bigfoot -Perhaps the last of their species-leads a primitive life, far from civilization. Their daily life changes when they embark on a trip as absurd as movingbetween wonder, survival and confrontation with the absurdities of the modern world.

Jesse Eisenberg And Riley Keoughunrecognizable under striking prostheses and costumes, embody these mythical creatures with unexpected tenderness.

Primitive offers an unprecedented rereading of the figure of the Bigfoot: a distorting mirror of our humanity, but also a pretext for a sweet-bitten satire of our modern societies.

In an interview with First,, David Zellner Return to the genesis of the project:

“It all starts with this famous amateur film of the late 1960s, the Patterson/Gimlin Film, which we know since our childhood. It is supposed to be the image of a Bigfoot that we see walking in the woods and turning to the lens. This silhouette has become famous worldwide. We grew up by being fascinated by this figure, omniptered in pop culture, between documentaries, fictions.”

He adds that this fascination was also nourished by what he calls “cinema of monkeys” of the 60s and 70s:

“There was The Planet of the Apesof course, but also the opening sequence of 2001, the space of spacecalled ‘the dawn of humanity’. We grew up with these images in mind. And by force, the desire to make our own version, with humor and emotion, has become obvious. “