Réalisation:
Quentin DupieuxScénario:
Quentin DupieuxPhotographie:
Quentin DupieuxMusique:
Quentin DupieuxActeurs·trices:
Alain Chabat, Jonathan Lambert, Élodie Bouchez, Kyla Kenedy, Eric Wareheim, John Glover, Matt Battaglia, Brad Greenquist, Jonathan Kowalsky (plus)Résumés(1)
Jason, un cameraman placide, rêve de réaliser son premier film d'horreur. Bob Marshal, un riche producteur, accepte de financer son film à une seule condition : Jason a 48h pour trouver le meilleur gémissement de l'histoire du cinéma... (Diaphana Distribution)
Critiques (5)
This rash is in my head, too. And it is impossible to wake up from it, because, as the old pig Lacan used to say - we don't go from dream to reality, but from reality to dream. Whoever finds the edge wins the giant egg. Surrealism is alive!
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I mean, what else did I expect? Reality is anything you want it to be, but mainly it’s absolutely out of reality. For about an hour, I thought I knew what the movie was about but then Mr. Oizo started turning the thing into one big déjà vu. You see he got lost in reality, dreams and fiction and I wasn’t able to follow. And I actually didn’t even want to follow. I was simply staring in disbelief and I kept hypnotically listening to the only musical motif, which made sure that I won’t be able to get it out of my nightmares today.
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Mr. Oizo remixes Contempt, or when sur/Reality dreams of watching a good movie on VHS, but this is just one mouse in the narrative maze of a discombobulated filmmaker in a creative crisis. Or a meta mind-fuck that will give some people a brain rash while others laugh at it in the same way they laugh at one of the protagonist’s screams.
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Fragile and sensitive is the soul of an artist, when the greatest obstacle on the path to success is their own agitated mind and stage fright. Reality is a cunning, funny, and surreal game about how it is not easy with people skilled in their craft. It goes after everything, starting with self-centered producers, and I must say it hit the nail on the head. A few scenes even reminded me of the good old Buñuel. It's original, playful, refreshing, and not afraid to fire within its own ranks. Most of the time, I was wearing a smile from ear to ear. Overall impression: 90%.
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Dupieux's between-film cameo pokes the pencil through the paper on all three levels, namely reality, fiction, and dreaming, all of which are presumably behind the mirror of the girl called Reality. Everything you've ever learned about film is utterly useless here.
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Annonces