You can begin by saying that the name of the film has been a little slant in French, with the expression à tire-larigot used as a pun to mean that the carry-ons or whatever you choose to call them are actually in a place called Tire-Larigots, a kind of cave made out of scrapyard or recycled material. And in this cave live some lovable troglodytes, such as the African Remington (Omar Sy) with his typewriter, who only uses outmoded expressions; or Calculette (Marie-Julie Baup), who can make fantastic calculations almost instantly; or Fracasse (Dominique Pinon), a former human cannon ball; or Placard (Jean-Pierre Marielle), who's survived the guillotine; or La Môme Caoutchouc (Julie Ferrier), a contortionist; or Petit-Pierre (Michel Crémadès), a character based on the real art brut genius of the same name; or Tambouille (Yolande Moreau), the band's delightful (but not-to-be-messed-with) cook.
Into this motley crew comes Bazil (Dany Boon), who's recently lost his home and his job in a video club* due to being in hospital for some time after receiving a stray bullet to his skull, which is still there as surgeons fear that it might do more damage if removed. Bazil's father lost his life in a land mine explosion, so Bazil's not happy when he discovers himself in the middle of the road between two arms companies: 'La Vigilante de l'Armement' and 'Les Arsenaux d'Aubervilliers': the first killed his father, and the second made the bullet in his head. Obviously, time for some micmacs. This is, as might be expected of Jean-Paul Jeunet, an amazing film.
*It was of course a video club in which Nino worked in Amélie Poulain, or where Quentin Tarantino worked for that matter.
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