6.8
Viewer Rating
Combines user and critic ratings from four sources
OSS 117: Lost in Rio (2009)
OSS 117: Lost in Rio (2009)
Overview
In 1967, OSS 117 is sent to Brazil in order to retrieve a microfilm list of French Nazi sympathizers, only to once again unknowingly set foot into a bigger international intrigue.
Starring Cast
Where to watch
Rating & Dimensions
Bias Rating
Analyzing...
Center
Political: Leans Left
Diversity: Moderate
LGBTQ: Negative
Trans: Negative
Judaism: Positive
Viewer Rating
6.8
Overview
In 1967, OSS 117 is sent to Brazil in order to retrieve a microfilm list of French Nazi sympathizers, only to once again unknowingly set foot into a bigger international intrigue.
Starring Cast
Where to watch
Detailed Bias Analysis
Analyzing...
Center
Primary
The film is a left-leaning satire that critiques colonialist attitudes, cultural arrogance, and various forms of bigotry by consistently presenting the protagonist's outdated and offensive views as absurd and wrong, thereby implicitly advocating for their rejection.
The movie utilizes traditional casting without explicit DEI-driven role changes. However, its narrative strongly critiques traditional white, male identities and their associated prejudices through satirical portrayal, making the protagonist's outdated views central to the film's humor.
Secondary
The film uses OSS 117's outdated and bigoted views, including homophobia and gender essentialism, as a primary source of humor. While satirizing the character's ignorance, the narrative often relies on problematic stereotypes and the protagonist's disgust for comedic effect, resulting in a net negative portrayal of LGBTQ+ themes.
The film features a character, Dolores, whose gender presentation is used for comedic effect, primarily through the protagonist's ignorance and discomfort. The humor stems from the 'reveal' of Dolores's perceived biological sex, positioning her identity as a punchline rather than depicting her with dignity or complexity.
The film satirizes anti-Semitic stereotypes through its bumbling protagonist, OSS 117. By making his prejudiced remarks appear absurd and ignorant, the narrative implicitly condemns bigotry and positions the audience to sympathize with the Jewish characters and their heritage.
The film features female characters, notably Dolores K. Von Schlick, who are involved in the espionage plot. While capable and active, their roles do not include scenes where they physically defeat one or more male opponents in close-quarters combat. Victories are not achieved through hand-to-hand or melee weapon skills.
The film features the established male protagonist, OSS 117, who remains male. All other significant characters appear to be original to this installment or its immediate predecessor, with no indication of their gender being altered from prior canon.
This film is a sequel in a parody series based on a French spy character. No characters canonically, historically, or widely established as one race are portrayed as a different race in this installment.
Viewer Rating Breakdown
User Ratings
6.8
7.1
Critic Ratings
7.4
5.8
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