
Contact High
2009

1986
Director
Hervé Palud
Runtime
90 minutes
Average Rating
No ratings yetSynopsis
After he is dismissed from his umpteenth job, Momo is kicked out of the family home by his fed-up father. He immediately joins his buddy Manu, who is also penniless having just lost his job at a cafeteria. The two decide to ask shady nightclub owner Sammy for a job, and he promptly hires them to transport back two statuettes from Amsterdam. Momo and Manu soon find out that these art objects are stuffed with drugs, but still manage to carry out their mission. They receive one kilo of grass in exchange, which they sell immediately. But while the business is lucrative, they discover that it's not so easy to become a full-fledged drug dealer...
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film lacks explicit evidence of LGBTQ+ characters or narratives. The story focuses almost entirely on the economic struggles of the male protagonists.
Gender Representation
The narrative is centered on a male-dominated social sphere. It follows a traditional masculine framework driven by the friendship and professional failures of Momo and Manu.
Racial & Ethnic Diversity
Character names suggest a multicultural urban environment typical of 1980s French cinema. However, specific racialized character arcs are not explicitly detailed.
Religious & Cultural Diversity
The film explores anti-establishment themes by centering on characters on the fringes of the legal economy. It prioritizes the lived experience of the economically marginalized.
Disability Representation
There is no information regarding characters with physical, sensory, or neurodivergent disabilities.
Strengths
Areas for Improvement
AI Analysis
The Joint Brothers functions primarily as a character study of economic displacement. It lacks explicit intersectional markers regarding gender and LGBTQ+ identity, focusing instead on the struggles of the working class. The film finds its footing by subverting traditional social hierarchies. By depicting characters operating outside mainstream institutional respectability, it offers a critique of conventional social stability. Ultimately, the work prioritizes systemic economic failure over proactive identity-based representation, making it a study of class rather than a diverse ensemble piece.

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