The apparel doth oft proclaim the man, says Polonius and the apparel in Quentin Dupieux’s new film Deerskin doth certainly proclaim Jean Dujardin’s Georges pretty oft. Georges is feeling a sudden contempt for his corduroy jacket, trying to stuff it down the toilet. Apparently in the immediate aftermath of a marital breakdown, Georges splurges a huge sum on a second hand 100% deerskin jacket with tassels. Not since Daniel Day-Lewis in Phantom Thread has a man been so taken with a sartorial item. Georges’ new jacket is tight for him and weird, and yet he’s so excited about being the height of what he calls “killer style”.
The power of the movie comes with Dujardin’s performance, which is detailed and astute, comic and unnerving. Dujardin shows Georges to be a vain preening man – he asks women in a bar if they were talking about his jacket – who demands attention and insecurely needs to be the boss. It’s like he’s playing American Psycho via David Brent.
The film is a portrait of toxic masculinity weirdly stripped of its most common denominator: misogyny. Georges doesn’t care for anyone except himself and his jacket. Deerskin is a reductio ad absurdum of male obsession and vanity and it is all done in “Killer Style”.
John Bleasdale, Filmuforia