Growing up, my aunt and sisters would constantly make me watch soap operas, and while they were fully invested in all the drama, I was just along for the ride — whether I wanted to be or not. Most of the storylines were completely over the top, filled with outrageous twists like evil twins, characters coming back from the dead and betrayals that made no sense. It was all a bit too much for me, and I could never take them seriously. No matter how dramatic the cliffhangers were, I was never hooked — I just endured them because I had no choice.
I’ve always seen movies as being fundamentally different from soap operas, mainly because films usually have tighter storytelling, better production values and a clear beginning, middle and end, rather than dragging out plotlines indefinitely. While soap operas rely on exaggerated drama, recycled tropes and melodramatic performances, good movies tend to offer more nuance, stronger character development and well-crafted narratives.
That brings us to this week’s review. Rumours is a horror-comedy written and directed by Evan Johnson, Galen Johnson and Guy Maddin, following the G7 world leaders as they gather to draft a statement in response to an unidentified global crisis. However, their plans are quickly derailed when the staff of the German estate hosting their meeting, mysteriously disappears.
As chaos unfolds, German Chancellor Hilda Ortmann (Cate Blanchett) seizes the opportunity to seduce Canadian Prime Minister Maxime Laplace (Roy Dupuis), while U.S. President Edison Wolcott (Charles Dance) indulges in impromptu naps, and the rest of the leaders attempt to maintain the illusion of productivity.
But when French President Sylvain Broulez (Denis Ménochet) is suddenly attacked by eerie undead figures known as bog bodies, the group is thrust into a surreal and unexpected adventure.
The film is undeniably a sharp critique of how world leaders often fall short when real leadership is required. Instead of taking decisive action to address the crises facing their constituents, they resort to empty rhetoric — crafting statements that may sound polished and authoritative but ultimately lack any real substance.
Rumours brilliantly satirizes this tendency, exaggerating it to absurd extremes. By placing the G7 leaders in a situation where they are not only ineffective but also comically self-absorbed, the film highlights the disconnect between political figures and the real world. Whether through meaningless discussions, personal distractions or outright avoidance of responsibility, the characters embody the frustrating reality of performative leadership. Rumours doesn’t just poke fun at these flaws; it leans into them, making them the driving force of its dark humor.
The entire cast fully embraces the film’s tongue-in-cheek tone, delivering performances that maximize both the satire and absurdity. The two standout performances come from Cate Blanchett and Roy Dupuis. Blanchett showcases her comedic talents as Hilda, a leader who frequently weaponizes her background in acting to manipulate those around her. Dupuis, on the other hand, brings depth to Maxime, portraying him as a man weighed down by a tumultuous romantic past that threatens to cost him his position of power.
Their on-screen chemistry is undeniable, creating a dynamic that is both hilarious and compelling. This energy extends to the rest of the ensemble, with each actor adding to the film’s absurd charm through perfectly timed performances.
Rumours starts off as a sharp and entertaining satire, filled with clever humor and absurd political commentary. However, as the film progresses, the comedic spark begins to fade, making way for a tonal shift that doesn’t quite land. The transition from witty satire to an atmosphere of mounting dread feels disjointed, as if the film is unsure of what it wants to be. The world leaders remain fixated on their meaningless pursuit of drafting a statement, oblivious to the growing supernatural horrors around them.
Even as the darkness creeps in — bringing with it masturbating creatures and a giant, pulsating brain — they remain unfazed, not out of political detachment but due to increasingly inconsistent writing. What starts as a sharp critique of incompetence morphs into a frustrating display of characters who no longer feel believable, even within the film’s surreal logic.
This disconnect makes it feel as though the film’s three writers and directors were not fully aligned in their vision. Instead of a seamless blend of satire and horror, Rumours falls victim to too many cooks, where multiple creative voices result in a muddled execution. The film loses its momentum, struggling to balance its absurdist humor with the creeping tension it tries to build. While ambition is not in short supply, cohesion is, and that ultimately weakens what could have been a brilliantly bizarre experience.
In many ways, Rumours feels more like one of the soap operas I was forced to watch as a kid, than a traditional film. The storylines are exaggerated and over-the-top, filled with absurdly dramatic moments and characters who often respond unrealistically to the escalating chaos around them — much like the melodrama I remember from those childhood soap operas. While this kind of storytelling can work when done intentionally and with purpose, Rumours struggles with its shift between satire and horror, causing the tone to swing wildly.
It’s reminiscent of how soap operas would oscillate between moments of intense drama and almost cartoonish absurdity. What starts out amusing soon becomes grating, leaving me with a feeling similar to being trapped in an endless soap opera marathon from my past.
Rumours earns a solid three out of five stars, mainly due to its talented cast, who manage to elevate the material, even when the film begins to lose its way. Cate Blanchett and Roy Dupuis stand out, bringing both humor and depth to their roles, while the rest of the ensemble fully embraces the film’s absurdity with impeccable comedic timing. At its best, Rumours delivers a sharp and entertaining satire on the incompetence of world leaders, mocking their empty rhetoric and performative leadership.
However, as the film progresses, its shift from witty political farce to surreal horror feels uneven and poorly executed. The competing visions of its three directors weaken the narrative cohesion, resulting in a film that struggles to find its balance. Despite these missteps, the cast’s commitment to the absurdity and the film’s strong opening act keeps it from completely faltering, making it an enjoyable, if flawed, experience.