Sidonie Panache: A dusty, weird historical detour

Is it worth the time?

Honestly, only if you have a massive soft spot for black-and-white historical oddities. If you need tight pacing or a story that makes logical sense, look away now. But if you want to see Antonin Artaud show up in a flick that feels like it fell off the back of a truck in 1934, then maybe, just maybe, settle in.

The whole premise is just absurd. A woman disguising herself as a Zouave to follow her boyfriend into the Algerian desert? It feels like the kind of plot Camille might have had if she’d been forced into the infantry.

The desert heat

The sets look like they were built with cardboard and dreams. There is this one scene where the sand looks so dry you can practically feel the grit in your own mouth. It’s not great, but it’s got texture.

Cinematic perspective: Exploring the visual vocabulary of Sidonie Panache (1934) through its definitive frames.

Watching the soldiers march around, you get the sense that half the extras were just recruited from the local pub. They don't look like they’ve conquered anything, let alone Algeria. They look like they’re waiting for lunch to be served.

The Artaud factor

Seeing Antonin Artaud in this is the real trip. He’s here, doing his thing, looking like he’s in an entirely different movie than everyone else. It’s distracting in the best way possible. You find yourself ignoring the plot just to see what he’s doing in the background of a shot.

The movie doesn't really know if it wants to be a romance or a military comedy. It kind of flops between the two like a fish on a deck. It’s not smooth. It’s barely held together by tape.

Cinematic perspective: Exploring the visual vocabulary of Sidonie Panache (1934) through its definitive frames.

• The uniforms are way too clean for a desert war.
• The dialogue sounds like it was written in a hurry between dinner courses.
• There is a distinct lack of actual military strategy, which is probably for the best.

Sometimes the sound mix just drops out for a second. It’s like the film is catching its breath. Or maybe the projectionist just gave up for a moment. Who knows. 🌵

It’s not as polished as School for Scandal, that’s for sure. It’s messier. It’s weirder. It’s the kind of thing you watch at 2 AM when you’ve already given up on being productive for the day.

Don't look for a grand statement on colonial history here. You won't find one. You'll just find a lot of dusty hats and some very confused-looking horses. It’s fine. It’s just fine.