The French theatre director Jean-Christophe Meurisse turned heads in 2016 when his feature debut “Apnée” premiered in the Cannes’ Critics Week.

“Apnée” follows a threesome of inseparable friends frolicking in a series of sketch-like vignettes. “Bloody Oranges” structure is also based on a decentralized storyline following four separate narrative strands. A retired couple is drowning in debts and tries to dance their way out of losing a house, a minister of the economy who is suspected of tax evasion attempts to bring more money into the state budget by raising taxes and knocks on a wrong door one night, a teenage girl gets abducted and abused after she has just properly experienced her burgeoning sexuality, and a lawyer has to deal with his parents who he considers to be careless and finds himself on the receiving end of road rage.

“Bloody Oranges” is a fairly cynical and anarchistic satire, a comedy of (a)morals touching political topics in the disenfranchised and embittered French society.