‘Peak Everything’ Review: Absurdist Quebecois Comedy Tries to Do Too Many Things At Once

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Most people unconsciously restrict their daily engagement with the world’s constant troubles to maintain their mental stability. However, Adam (Patrick Hivon), the charming protagonist of Anne Émond’s Quebecois tragicomedy “Peak Everything,” doesn’t follow this pattern. Unlike others who might shut themselves off from global catastrophes due to emotional overwhelm, Adam appears functional on the surface: residing in a small town near Montreal, maintaining a tidy household, managing a local dog kennel filled with adorable dogs, and so forth. Yet, there’s an underlying unease within him that he can’t seem to resolve.

In Emond’s unusual story that borders on surrealism, it’s impossible not to empathize with the sensitive character named Adam. He’s one of those kind-hearted individuals who instantly make you want to shield them, with gentle, dog-like eyes that brim with the heavy worries that Hivon skillfully portrays through his performance. Given that Adam spends every day grappling with Earth’s impending doom and humanity’s apathy towards pressing environmental issues, it’s surprising he manages to stay afloat. Yet, somehow, he does. However, his hard-hearted father Eugène (played by Gilles Renaud) doesn’t share Adam’s concerns, and Romy, the assistant at the kennel (portrayed by Élizabeth Mageren), takes advantage of him without a second thought.

Without a shadow of a doubt, Adam’s dogs provide significant assistance during his existential struggles, being the loyal friends they are. Yet, when his dog companionship and therapist fall short, he decides to purchase a therapy lamp for extra support. In one of the most entertaining scenes in “Peak Everything” – a film that could have used more humor – Adam accidentally dials the lamp’s customer service instead of the emotional support line when he thought it was included with his purchase. To his surprise, Tina (Piper Perabo) is just an ordinary tech support representative, eager to help Adam with his issues.

Adam relies heavily on his dogs during his existential struggles, as they are his most loyal companions. However, when his dog companionship and therapist aren’t enough, he orders a therapy lamp for additional aid. In one of the funniest scenes in “Peak Everything”, a film that could have used more humor, Adam mistakenly dials the customer service for the lamp instead of the emotional support line, thinking it was included. To his surprise, Tina (Piper Perabo) is just an ordinary tech support representative, overeager to assist with his problems.

Two individuals, seemingly brought together by fate, quickly establish a rapport, despite an initial confusion, causing one to question the authenticity of Tina, reminiscent of Spike Jonze’s “Her” realm. The filmmaker, Émond, subtly hints at this idea through his sound design and Perabo’s extraordinary voice acting. The voice of Tina is almost artificially sweet and disconcertingly clear, while her initial appearance dispels any doubts about her reality.

As a film enthusiast, I found “Peak Everything” to lose its charm when it became apparent that we were supposed to accept most aspects of the movie at face value, with Tina being a prime example of this realism. However, director Émond managed to keep some intrigue alive, such as when Adam overhears a terrifying thunderstorm on the phone while conversing with Tina and decides to travel to her region in Ontario due to an impending earthquake threat. Unfortunately, the plotline becomes somewhat muddled from this point forward, particularly when Adam and Tina become entangled in an unexplained drug raid that weakens the narrative. The introduction of Tina’s family — a wife and children — leads the script on various meandering paths through these new characters, which feel disjointed and inadequately developed. There is a hint that Tina’s marital harmony might not be as perfect as it seems, and she may have needed the serendipitous encounter with Adam just as much as he did. Nevertheless, Tina largely remains an enigmatic question mark throughout the film.

Emond finds greater success elsewhere, yet a subtle melancholy permeates the polished and visually appealing film. The era-blending set design, which makes it difficult to discern the time period without modern technology or devices, enhances the dreamlike atmosphere of the story. In contrast, the locations feature tranquil and picturesque spots alongside industrial plants and smokestacks, mirroring Adam’s internal struggle. As Emond embarks on her surreal journeys through snowy, contemplative landscapes, the narrative is anchored in a calmer setting, even when she complicates the plot with insignificant supporting characters and situational humor.

As a fan, I can’t help but ponder if the crowded narrative of “Peak Everything” unconsciously echoes the predicament it portrays — a contemporary crisis in the 21st century where humanity and our planet seem to be reaching the brink due to excessive consumption. The characters often give the impression they’ve reached a storyline dead-end, yet they persist and linger beyond their welcome, sometimes compromising their deeply held beliefs along the way. An enigmatic scene near the end involving a natural disaster and Adam’s cherished dogs serves as a striking illustration of this. If only the film had shown the self-control to tone down some of its thematic aspirations in romance, action, comedy, and existentialism, and learned when to call it quits and leave us satisfied.

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2025-05-18 20:17