{"id":523755,"date":"2024-06-05T06:00:00","date_gmt":"2024-06-05T04:00:00","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=523755"},"modified":"2025-12-04T22:22:37","modified_gmt":"2025-12-04T21:22:37","slug":"daaaaaali-linfidelite-rewarded","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/en\/cinema\/films\/daaaaaali-linfidelite-rewarded\/","title":{"rendered":"\u00abDaaaaaal\u00ed!\u00bb, infidelity rewarded"},"content":{"rendered":"

Telling the story of a historical individual has led cinema to the dead end of the biopic. Daaaaaal\u00ed!<\/em>, Quentin Dupieux's new film tries to stand out for its originality, but does it really succeed?<\/strong><\/p>\n\n\n\n\n\n\n\n

Judith (Ana\u00efs Desmoustier), a converted journalist, unwillingly finds herself at the head of a documentary film project on the eccentric painter Dali, played by Edouard Baer, Jonathan Cohen, Gilles Lelouche, Pio Marma\u00ef and Didier Flamand. But the artist, driven by his moods of the moment, never ceases to compromise the journalist's project, just as he seems to compromise the narrative of the film we're watching.<\/p>\n\n\n\n

A cinema of attraction<\/h3>\n\n\n\n

It would seem that since R\u00e9alit\u00e9, Quentin Dupieux has continued to experiment with simple concepts through films that are quickly written, produced and distributed. Yet, by his own admission, Daaaaaal\u00ed!<\/em> required more detailed writing. The result can be seen on screen: the film doesn't just rely on irrational situations or theatrical dialogue, as has been the case with Quentin Dupieux's last films, but here he mobilizes purely cinematographic tools to serve his narrative.<\/p>\n\n\n\n

And this is the strength of Quentin Dupieux's new film: it abandons the usual biopic narrative to treat Dali not as a person, but as a subject. The character becomes a pretext for mixing the ages, interweaving dream and reality, and multiplying references to Dali, but also to the cinema of Luis Bu\u00f1uel or surrealism.<\/p>\n\n\n\n

Read also | Filming makes Quentin Dupieux chuckle<\/a><\/h6>\n\n\n\n

Daaaaaal\u00ed!<\/em> is a film that enjoys a great deal of freedom. To be more precise, it takes full advantage of the audience's confidence in its intelligence. Whereas today's cinematographic writing puts the priority on comprehension, Dupieux relegates it to the background: at the end of the day, what does it matter whether the scene we're watching is real, a dream, or a priest's anecdote during a long meal? The heart of Dupieux's writing is attraction: constantly making viewers want to watch what they're watching, without explaining it.<\/p>\n\n\n\n