Jacques Tati plays the eccentric Monsieur Hulot in a wry satire of designer living.
A visual delight, Mon Oncle follows Hulot as he extols Tati's theory that "geometric lines do not produce likeable people". Hulot's ramshackle apartment, located in a less affluent part of town, would seem to prove the theory.
Tati pokes fun at the alienating minimalist design of the fully automated villa his sister and upper-middle-class brother-in-law take much-vaunted pride in showing off. "It's so practical...everything is connected" his sister insists to all who visit, despite the fact that her nine year old son, Gerard, seems utterly miserable and at a complete loss living there.
A stint attempting to make himself useful at his brother-in-law's plastics factory fails to endear Hulot to his exasperated next of kin. While his upwardly mobile relatives hit the town for an evening of clubbing at The Sexy and Constantino's, the perennially out-of-step Hulot ends up joining a late night sing-a-long on a horse and buggy ride.
Filial affection restored between father and young son, Hulot is dispatched to the provinces, as Tati's lens wistfully surveys the park benches and village squares of traditional Parisian neighbourhoods being transformed by a new modern ethos.