When a filmmaker commits to Being Weird, they generally fall into one of two categories. There are those filmmakers who find a comfortable quirkiness that becomes a staple of their work, something that viewers plainly rely upon, but which runs the risk of becoming conventional or maybe even a little tired over time. Alternatively, some filmmakers inhabit a space of oddity that may appeal to a relatively select audience: predictable only in that it will be off the wall and wildly absurd, and what shape the curiosity will take in each instance is anyone's guess. Quentin Dupieux, happily, indulges in the latter type of Weird. From the Fourth Wall-breaking bizarrerie of 'Rubber' to the ingenious deadpan brilliance of 'Deerskin,' the only thing we can specifically expect from Dupieux is the outrageous and flummoxing. And so it is here, for 2014's 'Réalité' borders on the same territory then goes far, far afield: somewhat centering a delightfully peculiar notion, then coyly messing around with dreams, make-believe, memories, time, and the very fabric of, well, reality - all of which it happily twists, abuses, disregards, and otherwise takes in wondrous new directions. As it does, it shares the offbeat whimsy of the man's other works, but is absolutely and unmistakably an imaginative creation all its own. And as one should assume of Dupieux, it's also a total blast!
There are major flavors of darkness in the comedy and storytelling here that both belie the cheeky playfulness of the assemblage, and are part and parcel of it. Yet while these make the first impression, as the length advances the picture soars well beyond any concrete discernible through-line of narrative development, exhibiting an incredible tangle that sails past "comedy" and "drama" to toy with fantasy and sci-fi. More than that, "fever dream" might be the best descriptor, as 'Inception' looks like child's play by comparison, and Richard Linklater's 'Waking life' seems straightforward when standing next to this; the nearest points of reference might actually be Charlie Kaufman's 'Synecdoche, New York,' or 'I'm thinking of ending things.' It's a lot to try to absorb at any time, and possibly more than with any other movie that comes to mind, the more one tries to think about it the more confounding it becomes. Still, even if one watches 'Réalité' and abjectly hates it, I don't think there's any disputing the incredible intelligence Dupieux poured into this film, nor the utmost skill that has brought it to astounding, vivid life. His projects may seem like an ungodly gobbledygook mishmash smorgasbord of bafflement, but as both writer and director he demonstrates again and again how remarkably shrewd he really is, and this is no different.
I don't even know how I'd rightly begin to describe the plot, such as it is, but each thread is fabulously smart even before they all melt together into a slurry of pure far-out surrealism. Even scenes, characters, and dialogue eventually blend in a fashion where it's hard to separate them, coming across like the strangest daydream one's brain has ever subjected them to. Along the way the cast unfailingly make the most of their own little slice of this collective hallucination, all obviously having a great time (Alain Chabat not least) and even without perfect knowledge it's hard not to think that this is probably the most outlandish, singular production that most of them have ever been involved with. (I don't know how Jon Heder came to participate, but I'm overjoyed.) It's really just a pleasure to watch them all contribute to the madness that 'Réalité' represents - and that pretty well extends to those behind the scenes, too. The production design and props are as terrifically inventive as Dupieux's screenplay, with props and effects close behind. I almost wonder if Dupieux wasn't having even more fun here while wearing his Editor hat than he was while writing, or orchestrating each shot and scene. The cinematography is crisp and vibrant, again a credit to the multi-talented filmmaker; that it broadly stands out less doesn't necessarily say as much about Dupieux's capabilities in that regard as it does about how carefully yet joyfully all else had already been arranged such that when it came to actually shooting, all that was left was just to run the camera.
Rounded out with excellent hair, makeup, and costume design, not to mention Thomas Garner's enticing music, I really don't know what more to say except to reaffirm how splendidly well made this is from top to bottom. Overall it looks and sounds as good as we'd hope from most any picture - it just happens to also jump well outside the bounds of what could ever be considered "normal," "typical," or "made for mass consumption." Only if this movie were animated, or awash in CGI, could it plumb depths more askew, for Dupieux has conjured something as tremendously fanciful as it is original, a kooky vision that dashes against its rocks most any semblance of recognizable narrative structure. I couldn't begrudge anyone who engages honestly with the material and finds it not to their liking, for this is definitely not something for everyone. For those who are open to all the wide, wacky possibilities of cinema, however, 'Réalité' is superb, and well worth exploring.
There are major flavors of darkness in the comedy and storytelling here that both belie the cheeky playfulness of the assemblage, and are part and parcel of it. Yet while these make the first impression, as the length advances the picture soars well beyond any concrete discernible through-line of narrative development, exhibiting an incredible tangle that sails past "comedy" and "drama" to toy with fantasy and sci-fi. More than that, "fever dream" might be the best descriptor, as 'Inception' looks like child's play by comparison, and Richard Linklater's 'Waking life' seems straightforward when standing next to this; the nearest points of reference might actually be Charlie Kaufman's 'Synecdoche, New York,' or 'I'm thinking of ending things.' It's a lot to try to absorb at any time, and possibly more than with any other movie that comes to mind, the more one tries to think about it the more confounding it becomes. Still, even if one watches 'Réalité' and abjectly hates it, I don't think there's any disputing the incredible intelligence Dupieux poured into this film, nor the utmost skill that has brought it to astounding, vivid life. His projects may seem like an ungodly gobbledygook mishmash smorgasbord of bafflement, but as both writer and director he demonstrates again and again how remarkably shrewd he really is, and this is no different.
I don't even know how I'd rightly begin to describe the plot, such as it is, but each thread is fabulously smart even before they all melt together into a slurry of pure far-out surrealism. Even scenes, characters, and dialogue eventually blend in a fashion where it's hard to separate them, coming across like the strangest daydream one's brain has ever subjected them to. Along the way the cast unfailingly make the most of their own little slice of this collective hallucination, all obviously having a great time (Alain Chabat not least) and even without perfect knowledge it's hard not to think that this is probably the most outlandish, singular production that most of them have ever been involved with. (I don't know how Jon Heder came to participate, but I'm overjoyed.) It's really just a pleasure to watch them all contribute to the madness that 'Réalité' represents - and that pretty well extends to those behind the scenes, too. The production design and props are as terrifically inventive as Dupieux's screenplay, with props and effects close behind. I almost wonder if Dupieux wasn't having even more fun here while wearing his Editor hat than he was while writing, or orchestrating each shot and scene. The cinematography is crisp and vibrant, again a credit to the multi-talented filmmaker; that it broadly stands out less doesn't necessarily say as much about Dupieux's capabilities in that regard as it does about how carefully yet joyfully all else had already been arranged such that when it came to actually shooting, all that was left was just to run the camera.
Rounded out with excellent hair, makeup, and costume design, not to mention Thomas Garner's enticing music, I really don't know what more to say except to reaffirm how splendidly well made this is from top to bottom. Overall it looks and sounds as good as we'd hope from most any picture - it just happens to also jump well outside the bounds of what could ever be considered "normal," "typical," or "made for mass consumption." Only if this movie were animated, or awash in CGI, could it plumb depths more askew, for Dupieux has conjured something as tremendously fanciful as it is original, a kooky vision that dashes against its rocks most any semblance of recognizable narrative structure. I couldn't begrudge anyone who engages honestly with the material and finds it not to their liking, for this is definitely not something for everyone. For those who are open to all the wide, wacky possibilities of cinema, however, 'Réalité' is superb, and well worth exploring.