Give writer/director Mike Cuenca credit. He managed to shoot a wildly experimental and surreal film in six days during the fall of 2020, at the height of lockdowns. Like a Dirty French Novel isn’t for everyone. It’s a bizarre ride that often feels like five separate short films with a few zany interludes mixed in. Yet, there’s plenty to enjoy, especially the way Cuenca blends different genres, including noir and even flashes of Giallo.

Cuenca wrote the film with Ashlee Elfman and Dan Rojay. At first, it seems like the stories’ only commonality is a sexually charged, nameless caller (Laura Urgelles), who somehow knows the characters’ secret desires. However, by the final 20 minutes or so, it’s clear how the characters know each other. The movie doesn’t necessarily conclude with a bow on top, but somehow, it all seems to work, no matter the non-traditional narrative choices.

To give an indication of how strange this film can be, let me point to the opening minutes. It begins with a scene in the desert, with two moons looming. A woman with glowing yellow eyes talks to three unnamed men. From there, the movie shifts to the first story. For all its strange and unusual aspects, the film is also about relationships. This subject grounds it in some semblance of reality. For instance, in the first story, we’re introduced to Crystal (Jennifer Daley) and Hue (Robby Valls), a couple who split up but still live together due to the pandemic and quarantine. Their relationship woes give us something to grasp and understand. Their issues also have an important part to play when the stories eventually cohere.

Some of the other stories lean into gritty noir aspects and feature hitmen and a femme fatale. Generally, it’s intriguing how Cuenca blends a few different genres. The opening credits, for example, look like they belong to a 1970s Giallo film. Some of the set designs, the furniture especially, and costumes look like they’re also from the 60s or 70s. Yet, there are scenes that feature cell phones. It’s an interesting juxtaposition that can sometimes be disorienting, but maybe that’s the point.

Some of the stories are less memorable than others, and the second and third ones especially feel like a drag. That said, even those stories are important to the larger narrative revealed in the closing minutes. And though most of the performances are from first-timers, the cast generally does a good job, especially considering the odd storylines. Only a few need to work on polishing their acting chops. But for a film shot in a mere six days, it’s impressive.

If anything, Like a Dirty French Novel should be viewed with an open mind. It’s a surreal ride in experimental filmmaking, shot during extremely challenging pandemic times. It’s not a movie with a linear narrative, but patience pays off. Somehow, the five stories and two interludes, wild as they are, gel by the conclusion. I’d like to see what this director can do during less restrictive times.

6.5 Out of 10 Femme Fatales