REVIEW: Le daim [Deerskin] [2019]

Meet the beast. This is a mid-life crisis. Strike that. This is a mid-life crisis in a Quentin Dupieux movie. I add that clarifier because most people don’t turn into serial killers when buying a high-priced item or having an affair will suffice. But most people aren’t like Georges (Jean Dujardin)—he does all three. Well, strike that from the record too. We don’t actually know if he’s had an affair. All we know for certain is that his wife never wants to see him again. Withdrawing 7,500 euros from the…

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TIFF16 REVIEW: Nikdy nejsme sami [We Are Never Alone] [2016]

“Those afraid to die are afraid to live” Fans of Quentin Dupieux should rejoice because I haven’t seen a film this absurdly hilarious since Wrong. Petr Václav‘s Nikdy nejsme sami [We Are Never Alone] is definitely bleaker, darker, and strangely realist, but it has that same sense of subtle humor to give you pause about the meaning of what’s thus far been viewed. The story concerns two families with certifiably insane patriarchs, a local pimp searching for escape, and the whore he deludes himself into thinking loves him despite her…

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REVIEW: Réalité [Reality] [2015]

“The insides serve no purpose” This is what it’s like to go insane. Writer/director Quentin Dupieux loves the surreal and absurd, but Réalité [Reality] takes his penchant for humorous oddity to another level. With Philip Glass‘ “Music with Changing Parts” boring a hole into your temple and fluid sequences of characters meeting in real time or via some from of media projection (and sometimes both at once), the filmmaker revels in keeping his audience off balance and unsure. The beauty of it this time, though, is how he provides us…

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Posterized Propaganda March 2013: ‘Stoker,’ ‘Place Beyond the Pines,’ ‘Spring Breakers’ & More

“Don’t Judge a Book by Its Cover” is a proverb whose simple existence proves the fact impressionable souls will do so without fail. This monthly column focuses on the film industry’s willingness to capitalize on this truth, releasing one-sheets to serve as not representations of what audiences are to expect, but as propaganda to fill seats. Oftentimes they fail miserably. I’m honestly not sure if it is possible to cram more movies in one 31-day period (five Fridays!). Let’s just say the dump month doldrums have ceased and we’ve moved…

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REVIEW: Wrong [2012]

“The palm tree is no longer a palm tree” I’m not sure there has ever been a more apt name for a film than the one musician turned filmmaker Quentin Dupieux chose for his newest existentialist romp through suburbia—. Everything about this movie is just that—wrong. From the transposing of inside and out to the metaphysical impossibilities of objects changing shape and identity to the completely absurd juxtapositions of life and death or present, past, and future, nothing that occurs to the unassuming Dolph Springer () can be explained. Whether…

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