Daaaaaalí!

As she puts it herself, Judith was a pharmacist but it was way too boring, so she decided to be a journalist instead. So she becomes obsessed with the idea of interviewing Salvador Dalí for a magazine, but will she?

Quentin Dupieux is a master of making glued to the screen and laughing out loud even if there is no real plot in the film. In spite of Dalí, excuse me, Daaaaaalí involved, this one is more absurdism rather than surrealism, which is perfectly to my taste. The setting here is more significant than the content, and every moment, you never know what you're gonna see next. Pure cinematographic pleasure!

P. S. A great collaboration with Thomas Bangalter from Daft Punk for the music.

Saw this at the Rotterdam film festival (IFFR) 2024. I was glad to watch the newest movie of this filmmaker and find it deserving the maximum 10/10 score. Following him since Rubber (2010) which I admired greatly, I found subsequent movies suiting me less and less. That is... until today. So very happy to find him again back on track.

Dahli's basic attitude seems very well visualized (I hear from others; I know nothing of Dali). Ditto his obsession with age and his looks. We see a small painting from someone else, signed by him and being sold for 10M on an auction, demonstrating how much his signature is worth, and that its perceived value has nothing to do with the quality of the painting itself.

Nice running gag with the young journalist chasing him repeatedly for an interview, failing each time but getting a fresh chance again and again. The time paradoxes around the dream told by the priest, are a nice find too, also serving as sort of a running gag with many variations, surprising and confusing us repeatedly during the story, until and within the final credits.

All in all, chronology in filmmaking is boring; humor and confusion come instead. I scored a maximum 5 out of 5 for the audience award after the screening. And finally, a friendly advice: stay put and don't run away when the credits start rolling.

French, unique and clever movie.

Excellent acting performances across, much in thanks to careful directing.

The movie requires no pre-knowledge about Dali. If you've seen at least one painting, you'll notice the paintings don't seem to fall far from the artist.

Cleverly designed plot, many unexpected and witty twists - a biopic where boring chronologic is replaced by humour. The portrayal of Dali is very enjoyable, every pronounciation seems a carefully thought out way to showcase his excentric (to quote Dali) particuliarities and in some sense also decay towards the latter stages of life.

A very good film, seen at the Göteborg film festival.

I have watched six Quentin Dupieux movies. WRONG/REALITY/LE DAIM/MANDIBULES/ Incroyable mais vrai and this one. DAAAAAALI! Is my least favorite movie of his. Up until now, the only movie which i would not have recommended was LE DAIM. But even LE DAIM is better than this.

It's like Dupieux ran out of ideas and artistically, he is on a decline. At times i felt i was watching just a rehash of his previous movies. This is a 67 minutes movie and still felt boring at times. There are still clever and funny moments here and there, Dupieux remains a unique and capable artist. But i think he should take a break in order to find his rhythm. Too many movies in the last years.

A young journalist (Anais Demoustler: The Count of Monte Cristo) wants to do an interview and a documentary, meeting the iconic artist on several occasions, played by five actors (Edouard Baer, Jonathan Cohen, Gilles Lellouche, Pio Marmai, Didier Flamand .

Two authors of the irrational, Dali and Quentin Dupieux, come together in this delirious and intelligent portrait of the master of surrealism, full of imagination, fantasy, and creative freedom. This is not a film about Dali, but with Dali. Here, Dali multiplies himself in a peculiar reinterpretation of his figure; he is free and caricature-like, he escapes, he finds himself with his aging other self. And the simple plot focuses on a French journalist meets the iconic surrealist artist Salvador Dalí on several occasions for a documentary project that never came to be. Turning out to be a hilarious and unpredictable Dali, it is Dali in his most essential form.

The film has brief biographic remarks, and of course his wife Gala appears in short scenes while he is painting, but no his friends Federíco Garcia Lorca and Luís Buñuel, in fact Quentin didn't want to make a proper biopic of the painter, as he felt it would make no sense.

There are some Dalí paintings brought to life. So 3 famous Dalí paintings are re-enacted in the film as tableaux vivants: "Necrophilic Fountain Flowing from a Grand Piano" (1932), "The Average Fine and Invisible Harp" (1932), and the anachronistic "Dali from the Back Painting Gala from the Back Eternalized by Six Virtual Corneas Provisionally Reflected in Six Real Mirrors" (1972 - 1973).

In this regard, director Quentin Dupieux explains: "Dalí's greatest masterpiece according to Dupieux was his extravagant personality; with this film, I tried to imagine a dialogue between cinema and image. I don't have Dali's genius, so, in all modesty, the film is an attempt to pay him the craziest and most free homage possible¨.

This absurd motion picture was mediocrely directed by Quentin Dupieux . He has directed varios outlandish films as Incredible But True (2022). And Smoking causes coughing (2022) premiered at the midnight section of the 2022 Cannes Film Festival. After Quentin has made some bizarre, offbeat films, getting some french hits. He has directed: Le Daim or Deerskin (United States, English title) (2010), Au poste (2018), Mandibules (2020), Yannick (2023), and its most succesful film was Rubber (2010). Rating: 5.5/10. Only advisable for fans of strange and surreal films.