Daaaaaalí!

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.

Dupieux connects to his underlying influence Bunuel through Dali. We find here of course the classic figure of the dream within the dream within the dream etc., as in the excellent 'Reality' by the same Dupieux.

Everything, like the best Bunuel, remains light and playful, thanks to the actors (extraordinary Romain Duris in particular) and the dialogues. A Dali's line in the film: "Painting represents an infinitesimally small part of Dali's personality. I consider that I make paintings that are quite mediocre, but which still allow me to express a little piece of Dali." Dupieux would perhaps say the same thing about his cinema...

Beyond the lightness and the play on dreams, we can find a vision fascinated by the madness of the artist's life, that of Dali here, and its obsession with keeping the pot boiling, constructing each moment of life like a monumental drama. Another line of dialogue: Judith: "Do you have a minute to talk? I'm not disturbing you too much?" Dali: "So, you know, artists of my stature are always absolutely disturbed by completely 'normals' people."

I find probably true that you've never seen a movie like this. This kind of titles feel rare and so fresh that deserves all the atention of worldwide cinephiles.

The plot of the movie doesn't give too much away, and that's because this movie defies expectations until his very end. Weirldy funny and with a meta narrative like you've never seen.

Quentin Dupieux's cinema convinces through the understanding and precise conception of the absurd as the axis in his stories, and Daaaaaali! It is a demonstration of this. But not only for that merit does he emerge victorious, but his films also turn out to be active conversational exercises that dialogue with the viewer about how we absorb what we see on a big screen, and what are the emotions and sensations involved when watching a film. .

Please support this movies.

The Dupieux Inception made me laugh so much, I never know what to expect but it's an intergalactic foot every time, plus I love Dali! A little tripoté of actor to embody Dali, a divinatory Dali, timeless, in a film that seems to resume the end of 2001 without any limit. I won't be able to tell you what it means, but it's pretty crazy! No limit in time, logic, meaning?

It is the story of an interview, in a dream, in a film, in a painting, in an interview, in a dream, in a film, in a painting, etc, etc... It is crazy and I love and for me, it is Jonathan Cohen who gives the most life to the eccentric character, it is an absolute treat to see him take all the tics of the master!

I recommend to those who like the Dupieux style, the others, will be completely strawberry, as every time:D.

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.