Incredible but true: Quentin Dupieux disappoints once again [critique]

Quentin Dupieux brings together Léa Drucker and Alain Chabat in a strange house. But the absurd little music of the author of Mandibles quickly turns short.

Quentin Dupieux’s films are based on deliberately simple and striking ideas (a killer jacket or tire, a giant fly, etc.) which very often suffice on their own. The absurdity and therefore the strangeness of this cinema is not based only on the supposed incongruity of the story but also and above all on its narrative structure stripped of affect, past, future… Everything is in the immediacy of the gag. Life at Dupieux is only a setting on which a recomposed reality is grafted. In this Incredible but true, however, we feel a desire to shed this advertising dimension, to mute the scathing irony, to touch a sensitive chord. This is where the problem lies. The concept of the film is based this time on the power of a house to project its inhabitants into another temporality. All they have to do is lift a hatch, go down the stairs to find themselves in the same place but a few hours later. This fault will, one suspects, upset the new owners, Alain (Chabat) and Marie (Drucker), especially Madame who sees in it the possibility of going back in time and becoming young and … beautiful again (she now dreams of being a model! ). To this sexist side, Dupieux adds a male counterpart in the person of a neighbor (Benoît Magimel) equipped with a digital sex. By thus multiplying the possibilities of his idea-concept, Dupieux is suddenly no longer up to the task and the pseudo-cool aspect of his cinema suddenly finds himself stripped bare to reveal only the coarse part.

By Quentin Dupieux. With: Alain Chabat, Léa Drucker, Benoît Magimel… Duration: 1h14. Released June 15, 2022

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