Review: Incroyable corn vrai (2022)


Incroyable corn vrai (2022)

Directed by: Quentin Dupieux | 74 minutes | comedy | Actors: Roxane Arnal, Grégoire Bonnet, Alain Chabat, Anaïs Demoustier, Léa Drucker, Mikaël Halimi, Lena Lapres, Benoît Magimel, Nagisa Morimoto, Marie-Christine Orry, Stéphane Pezerat

A middle-aged couple, Alain (Alain Chabat) and Marie (Lea Drucker), go on a Funda tour and stumble upon the house of their dreams somewhere in the suburbs. According to the broker, the spacious house has access to something very special. Also a warning. Do say so, Mr. Broker. What follows is indescribable… Dupieux. Because if there is a film brand for absurdist forays on the silver screen, it is the director of ‘Incroyable mais vrai’, as Tarantino is for chatty orgies of violence (it is written in the stars that the two filmmakers bear the same first name) .

Director Dupieux turns out to be a fast-moving filmmaker, five productions in four years, and in 2022 he has yet another ‘Fumer fait tousser’ in the pipeline after ‘Incroyable mais vrai’ (and trumps Woody Allen at the finish). The French film-maker writes out his fantasies in everyday visual language and adds a dose of absurdity to it. The countless inversions in the movie plots are always spoiler sensitive.
However, even if you write down what you see and hear, this irreversibly evokes admiring disbelief or gritted teeth indifference.

For ‘Incroyable mais vrai’ Dupieux goes wild with flashforwards. Unabashedly, he jumps in time from a few minutes to hours, days, months and even years. He flushes greedily with a devastating effect on the characters. Life in this movie schnitt is a perilous joke with no punch line. For the director, the jokes also seem more important than what you say with them. That way you might keep the fans young. A special mention is therefore in order for actor Benoît Magimel, who plays Alain’s grotesque boss. With highly uncomfortable success, Benoît embraces complete idiocy. Yet Dupieux does explore the possibilities for social criticism in this film, because what do ants, a still stimulating motif in surrealism, and the obsession with youthfulness have in common?

Once again Dupieux comes up with an extraordinary example of silliness, he lives for it. However, the home search of the average French couple also almost sinks through its own double bottom and so the 74 minutes skim past the ravine of oblivion. Dupieux’ productions suffer from this anyway. And he has a knack for clocking productions under an hour and a half, as if by that time his own attention span would have run out. Nevertheless, you keep staring at Bunuel light. For example, ‘Mandibules’ (2020), Dupieux’ mix version of ‘The Big Lebowski’ (Joel & Ethan Coen, 1998) and the stoner brothers Cheech & Chong (‘Up in Smoke’, Lou Adler, 1978) includes a big fat fly. , significantly funnier. But Joost should know why. Well, unbelievable but true! Was signed – Quentin –.