Buffet Froid 4K 1979 Ultra HD 2160p

Story Movie

The film begins with the main character, Alphonse, entering the subway at night and striking up a conversation with a stranger, with whom he waits for the train on an empty platform. The stranger turns out to be an accountant. Alphonse shares his fantasies about murder with the accountant, pulls a switchblade from his pocket, and offers it to him. The accountant refuses the knife and places it on a bench, but by the time they realize what has happened, the knife is no longer on the bench. A train pulls in; the accountant jumps on and leaves, while Alphonse remains on the platform...

Review 4K Movie

A wonderful person recommended this movie to me, for which I am sincerely grateful, and having seen it with my own eyes, I can now say that this movie is a masterpiece. It’s hard to write about a movie like this, but I’ll give it a try. How do you even distinguish a masterpiece from an ordinary movie—or even a very good one? When I watch a film like this, I get a strange feeling of something indescribable. There’s no mistaking it. So, looking at Gérard Depardieu’s charming face and seeing him stab a man in the back, I instantly fell in love with this movie.

Gérard Depardieu is one of my favorite actors from my childhood, and seeing something I’ve never seen him do before is simply a joy for me. But I was so surprised to see him in this kind of role. His character is so complex and intriguing that it’s impossible to describe in words. And the way he acts! I watched it with subtitles and just quietly screamed with joy and happiness. Such amazing intonations, such facial expressions, such movements. It’s not just top-notch—it’s divine. He’s such a charming and cheerful character that it’s impossible not to be captivated by him. No matter what he does, you can forgive him for everything, because he says he didn’t do it. Bravo, Gérard—this is probably his best role of all the ones I’ve seen.

The other actors are just as impressive. Bernard Blier is stunning as the police chief. He’s so charming and eccentric that he might even outshine Depardieu. And his antics and reactions to what’s happening are subtly drawn from real life. And looking back, you can’t help but start recognizing Bernard Blier in all sorts of unscrupulous bosses. Jean Carme is inimitable as the maniac. He portrays his character not as a cruel cynic, but as sensitive and vulnerable. You can’t help but smile when he pulls out his signature set of keys and pauses for a second. It’s delightful.

The plot is a magnificent blend of pitch-black satire and a searing thriller. Everything is so meticulously crafted—the level of concept and execution is so high—that there are almost no parallels. The whole thing is so hilarious and unpredictable, so unique and gripping, that you’re simply left speechless. For me, “Buffet Froid” has become one of the gold standards of comedy. This is exactly the kind of humor I want to see, this is exactly how I want to laugh, and this is exactly how unpredictable everything should be. So what if the dialogue is a little over-the-top, so what if some parts are hard to follow—I want to decide for myself when to laugh, and I want to fill in the blanks of the story myself. And that’s where Bertrand Blier really goes all out. He leaves plenty of room for the imagination. That’s why the same movie will seem completely different the next time you watch it compared to the last time. That’s one of the highlights of this film.

Fatal women, a multi-layered plot that’s a real head-scratcher, and simply mountains of corpses—without a single drop of blood—make the film incredibly appealing to fans of thrillers and crime comedies. The dialogue is incredibly well-crafted and so brilliant that I laughed until my stomach hurt and I was in tears. I haven’t laughed that hard in a long time. These exchanges mock not only negligent law enforcement officers but society as a whole. Everyone who appeared on screen even once was either killed or ridiculed and humiliated. But they’re humiliated and ridiculed in such a subtle way that you don’t realize it until much later in the film. The humor here is so cruel, yet so gentle, that it doesn’t create an atmosphere of tension—instead, it creates an atmosphere of warm, friendly banter. Even as the final credits rolled, I wondered if it was all just a dream. I thought that at any moment, all the people who’d been killed would get up and burst out laughing. But that never happened—which was for the best.

After the movie, I decided to try to figure out what it was really about. After much reflection, I came to the conclusion that it’s about what an unemployed man, a police chief, and a maniac can get up to. No logic, no clichés—just the screenwriter’s sparkling imagination, the director’s indescribable vision, and the characters’ charming charisma. The strangest thing is that there isn’t a single scene with a crowd of people—except for a crowd of police officers. The city is deserted. It’s as if all the sane people have fled, leaving only the killers and their victims behind. And who turns out to be among the killers? The valiant guardians of law and order. A subtle observation, isn’t it?

Everything is so contradictory that you’re left guessing. And these seemingly stern killers are afraid of the dark, nightmares, and violins. But only by killing do they find relief. And murder here isn’t a premeditated act, but a spontaneous chain of events. Yet it’s all quite tasteful. No nudity, no blood, no violence—just childish pranks. No gimmicks to lure the viewer in, just a hilarious spectacle and superb execution.