Yannick

At 67 minutes length Dupieux's comedy of manners never gets a chance to outstay its welcome. Despite some of the anti-audience sentiments displayed in his cult classic "Rubber" (2010), about a murderous car tyre (I can't believe I just typed those words), we do find him looking after his audience here.

Yannick is a security guard from the burbs who takes a valuable night off to go see a play in central Paris. When he realizes that the play is a piece of sullen middle class scatology, he flips his lid and takes the theatre hostage. I was drawn briefly to wonder what he was expecting from a play called "The Cuckold", it appears in his extreme naivete that he might have been expecting to see some sort of slapstick take on infidelity. I do not think he was a frequent flyer at this particular establishment. In my youth I worked night and weekend shifts, and it is indeed very difficult to have a social life and see the various curiosities and entertainments on offer, not just because of timetabling but also lack of disposal income. So, despite his felonious actions, it is fairly easy to feel sympathetic to Yannick.

Yannick is somewhat of an uneducated rube who would typically lose an argument, even if he was right. At gun point people are forced to be somewhat more open and are less able to scoff or run rings round him than they might otherwise be. The audience and players find it difficult to dodge his suddenly quite wide ranging critiques, which go beyond simply the quality of the play and contain some sort of Marxist-adjacent home-baked philosophizing. One of the traits of his prior movie "Incredible But True" that I really enjoyed was that Dupieux knows (most filmmakers don't know anything about office culture), that many office laptop jockeys spend an inordinate amount of time mucking about. Here an audience member is forced to reveal an embarrassing sexualized password and has a saucy desktop wallpaper, maybe he missed the sexual harassment training at work? Maybe one day labourers work out that many "wfh" bureaucrats are clocked off, slippers off, and perfecting the art of espresso making, on multiples of labourer salary. This kind of class dynamic is something that Yannick is close to unravelling, and he is doing so whilst holding a gun.

The movie is a midly chilling chiselling away at the cosmetics of contemporary culture amongst the liberal middle classes. Lift up a log and all sorts of creepy crawlies are underneath. Yannick creates the type of play he would like to see and it's actually quite moving to see him weep as something he has created is enacted. It's a movie that questions one's assumptions and the status quo, it's bright and breezy and well worth your time.

This film, as is often the case with Quentin Dupieux, leaves you a little disconcerted. The sudden ending prohibits any step back from the story that has just unfolded. The first half will surely make you laugh with its zaniness. The second half, turning to the taking of hostages by this individual who has become threatening, is less funny. We're looking for the message, but there doesn't seem to be any. We deride the troublemaker, the mediocrity of the actors, the cowardice of the spectators. Without any real conclusion.

I am sure that all theatre actors will shudder as they perhaps recall a similar experience of a provocateur interrupting the play they are performing. A sabotage that more twists and turns could have made exciting. Far too many films are at least an hour too long. This one could add additional time.

Someone applauds and everyone follows, is drawn into it. This seems to be the case with this film, in the story but also the film itself. Though only 1 hour and 7 minutes long it still manages to be testing your patience. The synopsis of the film presented it in a much better light. Maybe I should have stood up and left, but, like the audience in the film, I was hoping for a satisfying finale act.

In vain! I didn't find the film more entertaining than the play that gets interrupted by Yannick. I don't see the point in this film, where a weak boulevard play is interrupted by someone who roots for an even inferior play. The film makes fun of Yannick, the actors of the play and also the audience in turn. But to see a fool being foolish and being laughed at till he turns the table on the others who now begin to look foolish, including the audience, is no great art either and not really better than the play it mocks.

Of course, you could argue that the story should be looked at as a political statement: a fool, critizising other fools in view of a foolish audience, but honestly, others have done that much better.

"Yannick" stands out for its bold premise and its ability to explore themes of rebellion and justice from the perspective of an ordinary individual. The plot follows Yannick, an everyman who, tired of being a passive observer of life and cinema, decides to take matters into his own hands and make his voice heard. Directed by an emerging filmmaker, the movie employs a combination of satire, drama, and social commentary to create a work that is both provocative and deeply resonant. From the opening scenes, "Yannick" grabs the audience's attention with its vibrant cinematography and dynamic editing. The direction is characterized by innovative shots and a skillful use of light and shadow to emphasize moments of tension and introspection. The city where the story unfolds is depicted with a gritty realism that mirrors the protagonist's sense of alienation and frustration. The screenplay, though not without flaws, is rich with sharp dialogues and situations that highlight the power dynamics between the individual and society. The protagonist, portrayed by a highly talented actor, delivers a performance that is both intense and nuanced. His depiction of Yannick is that of a man who, despite being overwhelmed by circumstances, finds the strength to react in unexpected ways. This complex and multi-dimensional character is the film's beating heart, and his evolution is rendered with an authenticity that makes his actions and motivations believable. The supporting cast, though less developed, significantly contributes to the film's overall atmosphere, offering solid performances that enrich the narrative. One of the most intriguing aspects of "Yannick" is its use of metanarration. The film not only tells the story of a man rebelling against injustice but also reflects on the role of the spectator in cinema and society. This additional dimension gives the film a depth that invites reflection and stimulates discussions on highly relevant contemporary themes. However, this complexity can also be a double-edged sword, as some viewers might find the film overly pretentious or difficult to follow. The soundtrack, composed of original music and well-known tracks, is effectively used to underscore key moments in the plot and to add an emotional layer to the narrative. The musical choices reflect the tension and energy of the film, contributing to an engaging cinematic experience. However, at times, the soundtrack can seem a bit intrusive, distracting the viewer from the action rather than enhancing it. Despite its strengths, "Yannick" is not without its criticisms. Some elements of the plot may seem predictable, and there are moments when the film's pace slows, risking losing the viewer's attention. Additionally, while the protagonist is well-developed, some secondary characters lack depth, making some interactions less impactful than they could be. Ultimately, "Yannick" is a film worth watching for its audacity and its ability to stimulate reflection on important themes. Despite its flaws, it manages to offer a cinematic experience that is both entertaining and provocative. The protagonist's performance, along with the innovative direction and incisive screenplay, makes this film a noteworthy addition to the contemporary cinematic landscape.

We've all been to the theatre and wondered what we were doing there? Rarely, though, have any of us stood up to complain about the lacklustre performance directly to those on the stage. Well "Yannick" (Raphaël Quenard) does precisely that moaning that he's taken a day off work and spent his time and money on their presentation of "Le Cocu" that's not exactly enthralling him. Initially the talent engage, then they send him packing. Undeterred, he returns shortly afterwards with a gun, demands a laptop, a printer and devises a script for them to improve on their efforts. Yes, it's all fairly far-fetched and for a while I wasn't sure whether "Yannick" was actually the fourth cast member of the ensemble in to shake things up a bit. Certainly, the theatre goers never look very intimidated by their "captor". It is that ambiguity and an entertaining Quenard rendition that makes this quite a quirky watch that though it goes on too long, is actually at times quite an innovate piece of characterful cinema-cum-theatre that has just enough of the plausible about it to make it funny sometimes. It runs out of steam completely at the end, but the first forty minutes or so are original and worth a watch.