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"Three films, three genres, three genre films," is how director Lucas Belvaux describes the idea behind his bold experiment in filmmaking. In the farcical second instalment in this groundbreaking trilogy, the extent of this fascinating project begins to become clear.

"TYPICAL FRENCH FARCE"

Occurring at the same time as Bruno's prison break in Trilogy 1, this is styled as a typical French farce in which schoolteacher Cécile (Ornella Muti) begins to suspect her husband Alain (François Morel) of having an affair. Like any self-respecting woman would, she decides that instead of confronting him about it she'll hire corrupt copper Pascal (Gilbert Melki) - who's still busy searching for Bruno - to trail her philandering hubby instead, with hilariously disastrous consequences.

On its own terms, this is an above average French farce with Muti's sexily feline heroine and Melki's laughably thuggish copper proving great fun to watch. Taken as part of Belvaux's wider project, though, Trilogy 2 proves to be something far more resonant.

With its hysterically paced storyline, this undercuts the paranoia of the first film with an array of double-dealing double-crosses, furious car chases and slapstick gags - making light of moments that were previously played straight.

"ENERGETIC LAUGHS"

In the best tradition of madcap comedy, the craziness eventually reaches insane asylum levels as straitjackets and sedatives are wheeled out to cope with the manic events. Yet, for all the humour, our awareness of the darker, more dangerous world lying in wait outside the frame (the world of Trilogy 1 and, later, 3) tempers the film's energetic laughs.

As these characters enjoy their bourgeois privileges, we can't help but recall that this was the world that Bruno's proletariat army was intent on destroying. It makes for a comedy in which we're constantly aware of the threat of violence, death and despair.

In French with English subtitles.