Shut Up, Gulli

In a quiet Brittany village a TV channel launches a super-8 contest inviting locals to film their world. The Kenavec family takes the challenge, turning their modest daily life into a homemade movie. Benoît, Annick, and their kin view the project as both a family act and a community act, filming chores, feuds, fêtes, and the rhythm of village work. As the camera is turned on, the line between personal pride and public performance blurs and the village watches itself on screen with warm humor. Neighbors chime in, bringing stories and props, and the village becomes a living reel, where every shot hides a tiny pride and a hint of mischief. The result is a lighthearted slice of life that gently satirizes television desire while celebrating local bonds and stubborn village spirit.

Produced as a collaboration among Colette Brosset, Gérard Calvi, and Robert Dhéry, Shut Up Gulli surfaced in 1974 as a lively French comedy built around a family project. The film leans on an established ensemble and a playful sense of comic timing.

No major awards or nominations are listed for Shut Up Gulli. The film seems to aim for broad audience appeal rather than festival distinction, offering light humor rooted in character dynamics and a sense of place rather than high prestige.

Culturally this film slots into a 1970s French streak of rural comedies that poke fun at media incursion into everyday life. While not widely cited today, its Breton setting and light tone echo a period when local pride and family wit were central to screen humor.

Reception appears modest, with audiences likely enjoying the warmth and observational humor rather than sharp cynicism. The film foregrounds themes of media influence, the tension between public performance and private life, and the resilience of a close knit community when faced with outside attention.