There’s a quality to the most recent films from Quentin Dupieux, Rubber and Wrong, that I find approachable and endearing, even comforting. Dupieux rejects standard storytelling rules and structure, but follows a perceptible internal logic that holds his tales together.
He injects stories with seemingly meaningless elements, but there is a method by which they are then incorporated into the world. The forces at play in Dupieux’s films are not always positive ones, but once unleashed they are taken in stride. The strangest surprises of life — a killer car tire, a pet kidnapper, a horrible disfigurement — are not rejected. They’re not things that “can’t be.” They’re accepted, and dealt with, and life goes on.
Dupieux creates images that have a colorful, even lurid appeal. But he offers them in the same matter-of-fact manner that characters in his films exhibit. I’ve read many interviews with Dupieux where he evades questions of interpretation and meaning. So for our relatively short chat, I focused on process. We spoke of his aims in creating a script, his working method, and the fact that a film like Wrong would likely not exist if he had only 35mm film as a medium.
What I found, in conversation with the director, is that the spirit of his films — that matter-of-fact acceptance of the unusual — is very much present in the man himself.
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Oscar campaigning used to be so easy. Take out a few trade adds, approach a number of key voters, do a few rounds of dinners and drinks, done. Now there are far more outlets to get out info about a movie. The internet allows distributors to make all manner of materials available to promote their films for award consideration: scripts, scores, interviews, and on a limited basis even the entire film, via digital screener.
Wes Anderson‘s Moonrise Kingdom isn’t available online for everyone to watch for free, but there’s something pretty good as a consolation prize. The interactive script walks readers through the film through a copy of the script text augmented with stills, blueprints, design items, and behind the scenes photos. It’s a neat way to view the film, especially for those who haven’t exhaustively devoured all the “making of” materials posted over the last year. Read More »
I haven’t been to every film festival in the world, but I can’t imagine many being more fun than Fantastic Fest. For one week in Austin, TX the coolest genre films in the world screen along with some of the sickest, most inventive parties all for a passionate, excited audience. The 2012 edition takes place September 20-27 and while we knew Frankenweenie was going to open the fest, now we have the “first wave” of films.
Some of the obvious standouts are: Lionsgate’s awesome action film Dredd 3D; the amazing documentary Room 237 (playing along with The Shining, which is perfect); and Quentin Dupieux’s latest, hilarious film, Wrong. After the jump, read about all the films in the first wave, which also include movies about a sniper attacking a building, a woman resurrecting her dead husband, and killer sushi monsters. Read More »
For ten days each January, in the snowy town of Park City, Utah, the year in independent cinema is set. The 2012 Sundance Film Festival was true to that promise and provided attendees with a slew of films that are sure to be not only among the year’s best, but in the hunt for awards come Oscar time next year.
Along with Peter Sciretta, I was once again deep in the trenches of Park City – battling bus schedules, lack of sleep, snow, slush and more – to see as many movies as possible to try and get an idea of what the rest of 2012 holds. And it’s looking good.
We all know that the next few months hold an unprecedented offering of big budget blockbusters but companies like Fox Searchlight, Sony Pictures Classics, IFC, Magnolia and more all bolstered their upcoming release schedules by purchasing some of the best films of the 2012 Sundance Film Festival. The official awards have been handed out, but what were our favorites?
After the jump read about the best films of the 2012 Sundance Film Festival. Read More »
Quentin Dupieux‘s 2010 film Rubber starts off with a monologue explaining that many things in the world, or more specifically in the world of movies, happen for no reason. His follow-up feature Wrong, which had its world premiere at the 2012 Sundance Film Festival, is 90 minutes proving that statement. The film is non-stop ‘no reason.’
Jesus Organic Pizza, fecal matter memories, indoor rain and transforming palm trees are just some of the madness that occurs around the simple story of a man who loses his dog. But as Wrong gets weirder and weirder scene by scene, you’ll find yourself chuckling at the absurdity of it and eventually flat-out falling in love with the film and its mad-cap characters. Read More »
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Is killer tire movie Rubber, the last film from Quentin Dupieux (aka Mr. Oizo) incredibly pretentious or pure fun wacky silliness? I go with the latter, though I guess I can see why the very self-aware film could rub some people the wrong way and lead to an accusation of pretension. I’m all for Dupieux taking his particular approach to filmmaking, however, as we’ve got more than enough super-serious horror films. Rubber made me laugh, a lot, and that was all that mattered in the end.
Dupieux has finished his next film, which is called Wrong, and which is about a man’s search for his dog. But just as Rubber wasn’t a typical horror/sci-fi film, Wrong doesn’t look at all typical. We’ve seen one teaser trailer that shows off some of what we can expect out of the movie, and now here’s a minor clip in anticipation of the film’s Sundance debut. Check it out below. Read More »
By now many of you have had ample opportunity to check out Rubber, the movie from Quentin Dupieux that hit last year. Yeah, the one about the sentient tire that develops psychic powers and uses them to blow the heads off animals and people. I liked Rubber a lot — thought it was funny and entertaining in a simple, almost too-self aware way — and have been looking forward to his next movie.
Dupieux has been at work on a relatively secretive follow-up, called Wrong. The movie is in the Sundance 2012 lineup, as announced not long ago, competing in the World Cinema program. To go along with that formal announcement, here’s the teaser trailer for Wrong.
I’ll be honest: just going off this footage I have no idea what the hell is going on in this movie. But it has William Fichtner sporting facial scars and something like a rattail; Steve Little (Eastbound and Down) looking like a perfectly slouchy detective, and Jack Plotnick, the Accountant from Rubber, in perhaps a central role. Check it out below. Read More »