After his famous films
Playtime and
Mon Oncle, Jacques Tati scales back his critique of the modern world in Trafic to focus specifically on the congestion of modern living as it relates to cars. Hulot travels to Amsterdam to show a new, ultramodern camper car at the RAI, an international car show. In typical Tati fashion, he encounters nothing but trouble on his way, from breakdowns and accidents to an unwanted side trip to the police
station. Where Tati once directed us to see beauty in motion, despite it being constantly undermined by modern gadgets and architecture, Trafic essentially sees the world turning into one huge traffic jam. With participation of the Dutch filmer Bert Haanstra.
