Léontine lights up our lives with an electric battery, electrocuting everyone in her path. Her victims include two old ladies (played by men in drag), dancers at a café, workers on a construction site, a group of lackluster conscripts, and the local police force. To add insult to injury, she douses everyone with buckets of water.
Léontine is sent airborne by too many helium balloons and takes a catastrophic joyride across town, while her parents and the townsfolk frantically chase after her. Her journey is depicted with dazzling aerial views.
Léontine helps her pal Rosalie (Sarah Duhamel) race against time to clean up a house after Rosalie’s boss, Baron von Hummen, announces that he and Madame will return home earlier than planned. They recruit workers and poach resources from a nearby construction site. As we see, it takes a village to tidy a house on short notice (or at least it should!), but there’s a limit to the capacities of even collective domestic labor. Accelerated productivity gives way to sheer physical anarchy and irreversible destruction. Dirt and debris pervade every surface—furniture and skin alike—leading to several unfortunate blackening gags.
Titine and her family go for a fast-motion bicycle ride while enveloping the whole public sphere in their raging tornado of bodily ventilation. They knock over pedestrians, café diners, and horse-drawn carriages. Finally, they are steamrolled by the superior fan of a gas-guzzling automobile. Translated from Le Bulletin Pathé, they “are swept in turn like simple fetuses”
