French absurdist comedy virtuoso Quentin Dupieux has undoubtedly discovered the secret recipe for filmmaking success. In recent years, he has even produced 2-3 films a year. And most of them regularly enter prestigious film festivals around the world. His latest film, Le Deuxième Acte (2024), opened this year’s Cannes Film Festival. This example was followed by the Scanorama European Film Festival, which presented the same film on the opening night at the Vingios cinema. Copy Scanoramai earned a standing ovation after the screening, as Act Two is indeed an ideal film to kick off the festival. His light and charismatic tone is not only able to interest a fairly wide circle of audience, but also helps to create a carefree atmosphere of the cinema festival.
The Four Musketeers of the French Film Industry: Léa Seydoux, Louis Garrel, Vincent Lindon and Dupieux Fans or loyal Scanorama visitors already know Raphaël Quenard from the movie (Janik, 2023) – in Dupieux’s latest film, he plays actors at the crossroads of their professional lives who can’t stand the odds colleagues of the movie theater. Dupieux knows exactly how to create the perfect illusion on screen and then destroy it in the most unexpected way. Already in one of the first dialogues of the film, David (L. Garrel) asks Will (R. Quenard) not to improvise, but to speak what was written in the script. Thus, it is revealed that in “The Second Act” the director will focus on the film production process, instead of showing us a romantic film, in the plot of which, as far as we can understand from the hints of the actors, a somewhat unusual love triangle was supposed to be in the plot.
Although Dupieux makes films one after the other, there is certainly no shortage of inventiveness in his cinema. Act Two almost unequivocally abandons the fantastical elements that dominate Dupieux’s other films. The characters walk and talk in endless meadows, on the horizon you can see hills lost in the background of thick fog, green areas of forests. Meanwhile, many of the plot twists take place in a spacious French tavern-like roadside restaurant ironically named Act Two. In this lavish location, as befits a self-respecting second act of a dramatic work, another deception is revealed – all the actors’ mutual anger, profession and self-doubt moments are just another layer of the film’s plot. Dupieux hands us a three-layer film within a film, laughs at our gullibility and urges us not to believe anything on screen. According to him, the whole art of cinema is a fake kingdom of distorted mirrors. And yet “The Second Act” could claim to be Dupieux’s most realistic film to date in terms of Dupieux’s work.
The realism in “The Second Act” is not direct, it is revealed through Dupieux’s palpable pulse of the modern world, the crisis of meaning experienced by the art discipline in the face of brutal global events. Also through the director’s suggested way of dealing with it on a personal level. Dupieux offers us reconciliation through humor. This becomes a recurring motif in the film, growing into a sarcastic critique of the film industry. For example, Florans (L. Seydoux), disillusioned with her career, calls her young daughter, who honestly believes that her mother is an actress only because she is best at “acting to work” and not actually working. Meanwhile, Guiljom (V.Lindon), completely devastated and disappointed in acting, instantly changes his mind after receiving an unexpected offer to star in a new film by the famous Hollywood director Paul Thomas Anderson. Although the film portrays the film industry, a similar condition afflicts other professions these days. Many people are faced with a crisis of how to carefreely continue to live when the fundamental turning points of modern history are happening around them. This is a good metaphor for the orchestra playing on the deck of the sinking Titanic. The dramatic plot of the film, which aims for a comic effect in this way, dives deeper into superficial thinking and raises universal issues that do not exceed the needs of the modern viewer.
After filming, the actors continue to walk and talk about their seemingly real lives. However, it becomes obvious to the audience, who has been stabbed twice by the director, that there is no reality in “The Second Act”. This idea is reinforced by the last shot of the film, in which an invisible film camera moves along the tracks, gradually moving away from the world of the film and bringing the audience back to reality. The lights in the auditorium go out, and as with every Dupieux film, the feeling lingers that perhaps what we think of as reality is no less artificial than the snares of illusion just seen on the cinema screen.
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#Hilarious #Caricature #Film #Industry #Scanoramas #Opening #Film #Review #Culture
**Interview with Film Critic Maria Dubois on Quentin Dupieux’s ”Le Deuxième Acte”**
**Interviewer:** Thank you for joining us today, Maria! Quentin Dupieux has consistently surprised audiences with his unique storytelling style, and “Le Deuxième Acte” seems to be no exception. What are your initial thoughts on the film, especially given its recent premiere at Cannes?
**Maria Dubois:** Thank you for having me! I think “Le Deuxième Acte” is a fascinating entry into Dupieux’s filmography. Opening at Cannes sets a high bar, but Dupieux has a knack for combining absurdism with keen social commentary. It’s refreshing to see a film that, while lighter in tone, still explores the weighty themes of disillusionment within the film industry.
**Interviewer:** You mentioned disillusionment. How does Dupieux use humor to address these deeper themes?
**Maria Dubois:** Humor is indeed a key tool in Dupieux’s arsenal. In “Le Deuxième Acte,” he layers humor with a critique of the film industry, showcasing characters who are grappling with their professional identities. For instance, Léa Seydoux’s character speaks to her daughter about her acting career, revealing the gap between perception and reality. This metacommentary on the nature of work and self-identity resonates on many levels, not just within film.
**Interviewer:** The film also seems to steer clear of Dupieux’s usual fantastical elements. What impact does this shift to a more realistic approach have on the narrative?
**Maria Dubois:** It’s quite striking! By grounding the story in realism, Dupieux creates a sense of relatability that’s often absent in his more surreal works. The characters navigate familiar settings, such as a roadside restaurant aptly named “Act Two,” which acts as a symbol for the cyclical nature of stories and careers. This setting emphasizes the mundane struggles professionals face, thus allowing the audience to connect with the film on a more personal level.
**Interviewer:** Speaking of personal connections, how do you think this film reflects contemporary issues beyond the film industry?
**Maria Dubois:** That’s a great point! While “Le Deuxième Acte” centers on the film industry, the themes of self-doubt and professional crises are universal. Many people across various professions are experiencing similar feelings of uncertainty today, especially in the wake of global events that challenge the meaning of work. Dupieux’s approach to reconciliation through humor offers a much-needed perspective on coping with these existential challenges.
**Interviewer:** In your opinion, what does “Le Deuxième Acte” ultimately say about the nature of cinema and storytelling?
**Maria Dubois:** I think Dupieux is reminding us that cinema is both a construct and a reflection of our realities. He plays with the idea of narrative and authenticity, urging viewers to question what they’re seeing on screen. It’s a clever commentary on the ‘fake kingdom of distorted mirrors’ that is cinema, inviting us to laugh at the absurdity while also acknowledging our own vulnerabilities in the process.
**Interviewer:** Thank you, Maria! Your insights into “Le Deuxième Acte” are truly enlightening.
**Maria Dubois:** Thank you for having me! I look forward to seeing how audiences embrace Dupieux’s latest offering.
