Reality (2015)
Reality
”A desperate director must find the perfect groan of pain within 48 hours to secure funding for his film.”
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Why watch this film?
This movie doesn't make sense. Relax, in this case that's not a flaw - director Quentin Dupieux (of 'Wrong' and 'Rubber, the Killer Tire') wrote and directed a work that, at the same time, makes a curious critical analysis of the film industry while not taking itself too seriously, without the traditional bounds that exist when telling a story. Watch unarmed and expect a different language. If you follow these advises, you'll surely find a strange (and good) entertainment in this feature film.
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Plot summary
A wanna-be director is given 48 hours by a producer to find the best groan of pain, worthy of an Oscar, as the only condition to back his film.
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From the same director
Keep an Eye Out
From the French DJ-turned-absurdist filmmaker Quentin Dupieux comes this strange comedy of black humor, a mix of genius and foolishness, as almost all the action takes place in the interrogation room of a police station. 'In the Station' is an offbeat experiment in French (and world) cinema that might just convince you to watch for one reason: it's only 73 minutes long.
Wrong
A movie that has the strange and peculiar as its great characteristics. That's what makes 'WRONG' something unique.
Deerskin
"Le Daim" couldn't be a stranger movie -- and that's what makes it so fascinating. After all, director Quentin Dupieux (of the equally strange "Réalité" and "Rubber") follows here the story of a man obsessed with buying a deerskin jacket that costs him all his savings. From there, Jean Dujardin's character (from the award-winning "The Artist") enters a spiral of madness and obsession, setting the tone and rhythm of the film. Although "Estilo Matador" doesn't have the same degree of bizarreness as the telepathic tire of "Rubber", the feature film plays with the limits of narrative and constantly challenges the viewer to embark, along with the protagonist, in this moment of insanity. In addition to Dujardin, highlight the performance of Adele Haenel ("Portrait of a Young Woman on Fire"), who leaves her usual roles to play an eccentric character.
Yannick
French filmmaker Quentin Dupieux is known for his films with storylines as insane as they are provocative and ridiculous: a tire that comes to life (Rubber), men obsessed with deer leather jackets (Deerskin), a trash parody of Japanese superheroes (Smoking Causes Coughing). In Yannick, the director returns to his twisted humor to tell the story of the titular security guard (Raphaël Quenard). One day, he goes to the theater to see the play Le Cocu, but unsatisfied with it, he decides to take the entire theater hostage, take ownership of the text, and rewrite it. Through its simple (yet very funny) humor, the film raises questions about ownership and expectations surrounding a work of art. Once made public, is its owner the author, the audience, or a combination of both?
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