At the movies: Quentin Dupierre Dahl… Why should we see this crazy movie with Edward Baer and Jonathan Cohen?

what are you talking about

The French journalist meets Salvador Dali several times for a documentary project.

3 good reasons to see Daaaaal!

We could increase it to four by putting the duration first. As always with Quentin Dupieux, the sessions are short and daaaaaal! Lasts exactly 1h 18. And if this is not a convincing argument, here are others.

Dali by Dupieux (and vice versa?)

They were created to meet. On the one hand, a director who made absurdity and stupidity a way of life. On the other hand, the Pope of Surrealism. Who else but Quentin Dupierre could direct Salvador Dali? Roger Ewar, co-author of Pulp Fiction, struggled with his biographical project, and Mary Harron (American Psycho) managed to bring it to fruition.

But it seemed clear that Yannick’s director, who has a grasp of the absurd like few other directors, would embrace it, because what they have in common is that they break codes and flout convention. So much so that it’s hard to see where Dupierre stops and where Dalí begins throughout this story as Russian dolls, with absolutely hilarious wit and embedded dreams, Christopher Nolan wouldn’t deny it. .

Six dals for the price of one…

Many people (including us) expected this when they discovered the title and the casting, even when the role of each was not yet revealed: there would be not one, but several Dahls. Exactly six as a number “has” in the title. On the screen, opposite Anais Demostier, the artist especially has the faces of Pio Marmay and Gilles Lelouch, or even Jonathan Cohen and Eduard Baer, ​​who make their debut in the world of Quentin Dupuy.

What doesn’t happen is Todd Haynes I’m Not There, where each actor portrayed a different era in Bob Dylan’s life. In Daaaaaali!, Quentin Dupierre does everything, like switching actors from one shot to the next, with no explanation or logical reason. 23 years after his short film non-film, he signs a non-biographical film that is less about telling the life of Dalí than capturing the essence of his art and bringing it to life in cinema.

It takes a bit of running and daaaaaal! Excited for those who loved Yannick for his more down-to-earth side in his directorial oddball filmography. But it’s also a testament to the abundant richness of his world and his ability to update it from one film to the next with a slightly more upbeat tone than some previous films.

…and half of Deft Punk

Behind the camera, Quentin Dupierre was better known as Mr. Oizo, an electro artist who became as iconic as the flat Eric doll seen in his music videos in the 90s. Therefore, it is not surprising that music has a special place in it. Movies. And surround yourself with select guests.

After Metronomy (Mandibles), Gaspard Augé de Justice (Rubber) or Nicolas Worms (Au poste!), when he is not creating music for his films himself or using already existing titles (Jon Santo for Incredible, but true), Quentin Dupierre. This time he called Thomas Bangalter. Who is one half of Daft Punk?

Having already worked on Gaspar Noé’s Iréversible and Enter the Void, Cédric Klapisch’s En Corps and – of course – Tron the Legacy with his friend Guy Manuel de Homme-Cristo, he is writing music for a film for the first time. Quentin Dupierre. After the cameo, uncovered and in the waiting room, in reality.

That’s why we owe him this little refrain that we hear in both the trailer and the movie, and that will get you out of your head. But maybe that’s okay too!