🎬 Que le diable nous emporte

Que le diable nous emporte (2018) occupies a singular, highly eccentric slot within the international French arthouse collection of QueerFilmHub.com. The narrative sparks to life through a completely mundane modern accident: Camille (Fabienne Babe), a beautiful, elegant woman in her forties, discovers a mobile phone left behind at the Avignon TGV train station. When the phone’s frantic owner, Suzy (Isabelle Prim), calls her own number, the two women agree to meet at Camille’s Paris apartment so Suzy can recover her property. This brief, casual encounter instantly shifts into an intense, unexpected physical and sensual connection between the two women.

The intimacy is suddenly interrupted when Clara (Anna Sigalevitch)—Camille's live-in partner—walks through the door, only to shrug off conventional jealousy and seamlessly join the romantic encounter.

The fluid household is thrown into further chaos by the sudden arrival of Olivier (Fabrice Deville), Suzy’s volatile, aggressive, and deeply jilted ex-boyfriend who has tracked her down. To protect Suzy, Camille hides her upstairs with her eccentric neighbor, an elderly yoga enthusiast and mystic affectionately known as "Tonton" (Jean-Christophe Bouvet). Meanwhile, below, Clara intentionally seduces the furious Olivier to calm his temper. What follows is a highly surreal, lighthearted, and deeply theatrical cross-crossing of human desires. While Clara unexpectedly falls for Olivier, Suzy finds peace, meditation, and literal levitation in the arms of Tonton, turning a volatile domestic crisis into an optimistic, bizarre triumph of absolute love and fluid desires.

💡 Did You Know? (Czy wiesz, że?) 🧠
A Master’s Final Bow: This film serves as the final artistic statement of director Jean-Claude Brisseau, who passed away in May 2019 at the age of 74. It encapsulates his entire career's obsession with female desire, spiritual transformation, and micro-budget filmmaking.

Theatrical New Wave Style: The actresses deliberately recite their lines in a highly precise, carefully articulated, and almost robotic manner. This technique heavily mimics the style of historic French New Wave icons like Eric Rohmer or Jean-Luc Godard, designed to make the film feel like an explicit fable rather than a gritty piece of realism.

A Multi-Talented Star: Leading actress Anna Sigalevitch (Clara) did not just star in the film—she is a classical pianist who also entirely composed and structured the movie's lyrical musical score, creating a beautiful classical backdrop to the film's campier elements.