With Second Act, Quentin Dupieux dynamites French cinema

With Second Act, Quentin Dupieux dynamites French cinema
With Second Act, Quentin Dupieux dynamites French cinema

By Eric Neuhoff

Published
52 minutes ago,

Update 1 minute ago

In the toilets, Raphaël Quenard tries to kiss Lea Seydoux. Blood flows.
Chi-Fou-Mi/Arte France Cinema

CRITICAL – Dupieux diverts the clichés, throws his kicks at right thinking. Naturalness and buffoonery take the place of style.

It’s a festival. With Dupieux, the Croisette has fun. A huge burst of laughter will resonate among the yachts and private beaches. The selection has hardly accustomed us to such fantasy, to so much freedom. How does this phenomenon of Quentin Dupieux manage? This is his third film in a year. Next door, Jean-Pierre Mocky was lazy. Woody Allen seems – well, seemed, the producers no longer rushing so much at his bedside – to have a hair in his hand. This pace takes nothing away from his talent.

It explodes from the first seconds, where Louis Garrel asks his friend Raphaël Quenard to seduce the young lady who is chasing him. She calls him all the time. He can’t take it anymore. Quenard is wary. There is something. Is she ugly? No way. So she’s not a real woman? Oh dear, a little calm. Garrel is afraid of being “canceled”. The two men walk on a road in a very long sequence shot, without stopping talking. Then we’ll get the girl…

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