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The acting-directing trio of Dominique Abel, Fiona Gordon, and Bruno Romy has been playing with the slapstick physical language and light, candy-coated style of Jacques Tatí for more than a decade. Their big innovation? While Tatí’s films center on bumbling eccentrics, Abel, Gordon, and Romy prefer their protagonists more damaged. In their last film, the taut and sweet Rumba, Abel and Gordon starred as a pair of lovers who must search for each other after a car crash takes her leg and his wits. In The Fairy, they’re less than whole from the start: Abel is a dim-witted porter at a small hotel; Gordon wanders in barefoot wearing what looks like mental-ward garb, and announces she will grant him two wishes. From there, a series of sometimes endearing but more often tedious physical gags—dog in luggage running up stairs! man and woman inside same raincoat riding scooter!—help expand a small universe containing neither internal logic nor any shortage of quirk. Shit gets zanier and zanier, but Abel and Gordon (and Romy, as a myopic, accident-prone bartender) have no idea where to hit the brakes. Probably before the scooter-chases-car-with-baby-perilously-perched-on-trunk sequence, no?