What is this somewhat embarrassing monster movie with Orelsan as a fake knight of the zodiac?

A filmic vessel for Orelsan, rather convincing in his role as a cynical loser, Yoroi amalgam of existential crisis, monster movie and action B series, for an improbable result, which oscillates between pathetic moral procrastination and acts of bravery.

The summary

Aurélien, alias Orelsan, is in his dressing room after a concert. Although he has always wanted this life as an artist, he feels alienated from himself. He therefore decides to go with his partner Nanako, who is pregnant, to recharge their batteries in Japan and raise their child there. They settle in an isolated house. Aurélien discovers that it contains a well in the living room.

What we think

Yoroi works in blocksor rather, malfunctions through rupture effects. In its first movement, where the star, struck by disappointment in the face of a dreamed but unsatisfying life, goes to Japan with his pregnant partner, the film multiplies the calls of the sepia foot to a doubly marked imagination (the story of withdrawal in the face of the star system is linked to the Japanese vignetting that is half-Ghibli, half-Kitano, where the grass is very green and the people are very nice).

Once this clumsy put at stake figuratively, Yoroi begins its second act – by far the most exciting: the monster movie. Adorned with armor that transfigures the hero’s affects into subconscious bestiary, Orelsan fights odious creatures every night.

Very rhythmic and far from being stingy with plastic effectsthis nocturnal parade plays quite well with its redundant and on the edge of dream aspect (not to sleep is to let the monster sewn under the eyelids of rest – oneself) happen somewhere.

This is where the only interest of the film lies : in these plastic cataracts which ooze from the walls of a house, in this kind domestic horror both inconsistent and unlivable.

This assault on the mental palace lies on the rubble, unfortunately, ofan unworthy final part, where an evil avatar of the singer, called Orelsama, escapes from a magic tree (don’t look for it…), and sadizes those around him, until the agonistic resolution, where, white against black, good against evil, the two sides will confront each other…

This ending, ugly and programmatic, is a true admission of failure.where Japanese luxuriance turns into a Haussmann-style camera, and where Orelsan’s impasse as a variety artist is etched in relief: between the commercial hammer and the protest anvil, condemned to attack monsters to defend himself from being one. / Clément Deleschaud

Practical information:
Yoroiby David Tomaszewski. With: Orelsan and Clara Choï. In theaters on Wednesday October 29, 2025.

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