The fundamental idea behind this film is really quite straightforward. “Krank” (Daniel Emilfork) is exceptionally intelligent, a little unhinged, and isolated. He resides on a distant oil rig, creating companions to fill the void. His biggest concern is his inability to dream; without them, he’ll cease to exist. Consequently, he must gather as many dreams as possible. To achieve this, he builds an entire community of one-eyed servants, a brain housed in a tank and sustained by Alka Seltzer, and some clones all overseen by the small but intimidating "Martha" (Mireille Mossé). This “family” would likely impress “Dr. Moreau.” He anticipates that they will assist him in collecting enough children to ensure his continued existence. The problem is that those he manages to acquire are plagued by nightmares because the kids he kidnaps are terrified of him; he needs some pleasant dreams! Meanwhile, his robotic workforce encounters "Denree" (Joseph Lucien), failing to anticipate his determined older brother “One” (Ron Perlman), who’s set on retrieving him. He journeys to their offshore platform and, with the help of the spirited "Miette" (Judith Vittet) and a substantial amount of green wool, begins attempting to rescue his younger brother—and everyone else trapped within the structure—and to prevent “Krank” and his followers from stealing any more dreams. Emilfork is excellent as the quintessential mad scientist, and Dominique Pinon appears to be thoroughly enjoying himself portraying the clones who carry out their master’s orders while injecting some silly humor into the proceedings. There's a blend of narratives here—part "Frankenstein," part "Chitty Chitty Bang Bang"—featuring costumes eccentrically designed by Jean-Paul Gaultier, and it does occasionally wander; however, this film is primarily about its visual style and sheer inventiveness. It’s as if someone had granted Messrs. Caro and Jeunet unrestricted access to the props department at MGM or Universal and instructed them to use whatever they could find. They possess a child's imagination, and they certainly put it to work. Mechanical gadgets, gizmos, green mists, thick fog—you name it, all contributing to an atmosphere of playful darkness and adventure. It’s humorous at times, menacing at others, and there’s a surprisingly effective rapport between the typically stoic Perlman and his young co-star Vittet that helps ground the fantasy. The film is surreal and beautiful to look at, but you'll need to put aside your expectations of conventional, structured filmmaking if you want to appreciate it. It’s unlike anything else and remarkably creative; perhaps a bit “bonkers” too!

Source on TMDB