{"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-recompensee\/","title":{"rendered":"\u00abDaaaaaal\u00ed!\u00bb, infidelity rewarded"},"content":{"rendered":"\n<p class=\"has-drop-cap\"><strong>Raconter&nbsp;le parcours de l\u2019individu historique a conduit le cin\u00e9ma dans l\u2019impasse du biopic. <em>Daaaaaal\u00ed!<\/em>, le nouveau film de Quentin Dupieux, essaie de se d\u00e9marquer par son originalit\u00e9, mais y parvient-il vraiment?<\/strong><\/p>\n\n\n\n<!--more-->\n\n\n\n<p>Judith (Ana\u00efs Desmoustier), une journaliste reconvertie, se retrouve malgr\u00e9 elle \u00e0 la t\u00eate d\u2019un projet de film documentaire sur le peintre excentrique Dali, incarn\u00e9 par Edouard Baer, Jonathan Cohen, Gilles Lelouche, Pio Marma\u00ef et Didier Flamand. Mais l\u2019artiste, port\u00e9 par ses humeurs du moment, ne cesse de compromettre le projet de la journaliste, comme il semble compromettre le r\u00e9cit du film que nous regardons.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-un-cinema-de-l-attraction\">Un cin\u00e9ma de l\u2019attraction<\/h3>\n\n\n\n<p>Il semblerait que depuis R\u00e9alit\u00e9, Quentin Dupieux continue d\u2019exp\u00e9rimenter des concepts simples au travers de films rapidement \u00e9crits, produits et distribu\u00e9s. Pourtant, de l\u2019aveu m\u00eame de son auteur, <em>Daaaaaal\u00ed!<\/em> n\u00e9cessitait un travail d\u2019\u00e9criture plus d\u00e9taill\u00e9. Le r\u00e9sultat se voit \u00e0 l\u2019\u00e9cran: le film ne repose pas seulement sur des situations irrationnelles ou des dialogues de th\u00e9\u00e2tre, comme ce fut le cas pour les derniers films de Quentin Dupieux, mais il mobilise ici des outils purement cin\u00e9matographiques au service de son r\u00e9cit.<\/p>\n\n\n\n<p>Et c\u2019est bien la force de ce nouveau film de Quentin Dupieux: le film abandonne la narration habituelle du biopic pour traiter Dali non en personne, mais en mati\u00e8re. Le personnage devient pr\u00e9texte \u00e0 m\u00e9langer les \u00e2ges, \u00e0 imbriquer r\u00eave et r\u00e9alit\u00e9, \u00e0 multiplier les r\u00e9f\u00e9rences \u00e0 Dali, mais aussi au cin\u00e9ma de Luis Bu\u00f1uel ou au surr\u00e9alisme.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"h-a-lire-aussi-filmer-fait-glousser-quentin-dupieux\">A lire aussi | <a href=\"https:\/\/leregardlibre.com\/cinema\/films\/quentin-dupieux\/\">Filmer fait glousser Quentin Dupieux<\/a><\/h6>\n\n\n\n<p><em>Daaaaaal\u00ed!<\/em> est un film qui jouit d\u2019une grande libert\u00e9. Pour \u00eatre plus pr\u00e9cis, il profite pleinement de la confiance en l\u2019intelligence du public. Alors que l\u2019\u00e9criture cin\u00e9matographique d\u2019aujourd\u2019hui met la priorit\u00e9 sur la compr\u00e9hension, Dupieux la rel\u00e8gue au second plan: au fond, quelle importance de savoir si la sc\u00e8ne que nous regardons est r\u00e9elle, un r\u00eave, ou une anecdote de pr\u00eatre lors d\u2019un repas trop long? Le c\u0153ur de l\u2019\u00e9criture de Dupieux, c\u2019est l\u2019attraction: donner constamment envie au spectateur de regarder ce qu\u2019il regarde sans l\u2019expliquer.<\/p>\n\n\n\n<form method=\"post\" action=\"https:\/\/newsletter.infomaniak.com\/external\/submit\" class=\"inf-form\" target=\"_blank\"><input type=\"email\" name=\"email\" style=\"display:none\" \/><input type=\"hidden\" name=\"key\"\nvalue=\"eyJpdiI6IlZXRVJGMlRGQUU2alNqUE81bitIUk5adnNVa0c4MllFTStzOHdHT1FQZ3c9IiwidmFsdWUiOiJIYzhwMUVCK1pTNnlhY3MyMmhuZlhReWJqemEwNk93blMxTjFHc0s2VHZrPSIsIm1hYyI6ImVhYTQ5N2I1M2NiYWE4NzBm\nNjk2NzgzYjliM2Y5NmYzM2E2ZmU3NGQxNTU1ZDFkMTU1MzY5NTdjYjE3ZTJmNTUifQ==\"><input type=\"hidden\" name=\"webform_id\" value=\"7291\"><style> .inf-main_3000311ca56a1cb93397bc676c0b7fff{ background-color:#f5f5f5;\npadding:25px 20px; margin:25px auto; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-content { margin-top:13px;} .inf-main_3000311ca56a1cb93397bc676c0b7fff h4, .inf-main_3000311ca56a1cb93397bc676c0b7fff span, .inf-\nmain_3000311ca56a1cb93397bc676c0b7fff label, .inf-main_3000311ca56a1cb93397bc676c0b7fff input, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-success p a { color:#555555; font-\nsize:14px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff h4{ font-size:18px; margin:0px 0px 13px 0px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff h4, .inf-main_3000311ca56a1cb93397bc676c0b7fff label{ font-weight:bold; } .inf-\nmain_3000311ca56a1cb93397bc676c0b7fff .inf-input { margin-bottom:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff label { display:block;} .inf-main_3000311ca56a1cb93397bc676c0b7fff input{ height:35px; color:#999999; border: 1px solid\n#E9E9E9; border:none; padding-left:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error label, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error span.inf-message{ color: #cc0033; } .inf-\nmain_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error input{ border: 1px solid #cc0033; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input input { width:100%;} .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error\nspan.inf-message { display: block; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit { text-align:right;} .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit input{ background-color:#777777; color:#ffffff; border:none; font-weight:\nnormal; height:auto; padding:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit input.disabled{ opacity: 0.4; } .inf-btn { color: rgb(85, 85, 85); border: medium none; font-weight: normal; height: auto; padding: 7px; display: inline-block;\nbackground-color: white; box-shadow: 0px 1px 1px rgba(0, 0, 0, 0.24); border-radius: 2px; line-height: 1em; } .inf-rgpd { margin:25px 0px 15px 0px; color:#555555; } <\/style> <div class=\"inf-main_3000311ca56a1cb93397bc676c0b7fff\">\n<h4>NEWSLETTER DU REGARD LIBRE<\/h4> <span>Recevez nos articles chaque dimanche.<\/span> <div class=\"inf-success\" style=\"display:none\"> <h4>Votre inscription \u00e0 notre infolettre hebdomadaire a \u00e9t\u00e9 enregistr\u00e9e avec succ\u00e8s !<\/h4> <p>\n<a href=\"#\" class=\"inf-btn\">&laquo;<\/a> <\/p> <\/div> <div class=\"inf-content\"> <div class=\"inf-input inf-input-text\"> <input type=\"text\" name=\"inf[1]\" data-inf-meta = \"1\" data-inf-error = \"Merci de renseigner une adresse email\" required=\"required\"\nplaceholder=\"Email\" > <\/div> <div class=\"inf-submit\"> <input type=\"submit\" name=\"\" value=\"S\u2019inscrire\"> <\/div> <\/div> <\/div> <\/form>\n\n\n\n<p><em>Daaaaaal\u00ed!<\/em> est un mod\u00e8le des multiples strat\u00e9gies d\u2019attraction que l\u2019on peut exercer sur le spectateur. Il y a \u00e9videmment l\u2019humour, dans le dialogue comme dans la mise en sc\u00e8ne, parfois burlesque, parfois noir, grossier comme subtil, qui rend l\u2019ensemble du projet accessible \u00e0 tout public. Il y a aussi l\u2019\u00e9trange. Un pr\u00eatre raconte un r\u00eave compl\u00e8tement d\u00e9cousu, invitant le public \u00e0 l\u2019interpr\u00e9ter. Un couloir d\u2019h\u00f4tel qui semble infini. Certaines sc\u00e8nes se r\u00e9p\u00e8tent, et nous cherchons la variation entre celles-ci.<\/p>\n\n\n\n<p>Mais surtout, l\u2019objet d\u2019attraction le plus important est Dali lui-m\u00eame. Ce personnage anarchiste comme monarchiste est impr\u00e9visible, on attend chaque fois sa derni\u00e8re excentricit\u00e9 tout comme ses moments d\u2019humanit\u00e9. On cherche \u00e0 constamment d\u00e9coder l\u2019homme du personnage, mais la t\u00e2che nous para\u00eet vite impossible: Dali contamine tout, influence tout, d\u00e9truit tout.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-l-anti-biopic\">L\u2019anti-biopic<\/h3>\n\n\n\n<p>On pourrait ainsi consid\u00e9rer <em>Daaaaaal\u00ed!<\/em> comme un excellent divertissement, mais un tr\u00e8s mauvais biopic. D\u2019ailleurs, son r\u00e9alisateur lui-m\u00eame r\u00e9cuse l\u2019appartenance de son film \u00e0 ce genre. C\u2019est bien normal: le biopic a mauvaise presse.<\/p>\n\n\n\n<p>C\u2019est que le biopic se trouve dans une situation intenable: il doit retranscrire le plus fid\u00e8lement possible le r\u00e9el avec un art qui consiste \u00e0 tromper constamment son public. Cette tension est d\u2019autant plus flagrante avec l\u2019acteur interpr\u00e9tant le personnage historique. S\u2019il n\u2019est pas assez ressemblant ou ne parvient pas \u00e0 se faire oublier derri\u00e8re les traits de son personnage, on le consid\u00e9rera comme rat\u00e9. Si au contraire, il est enti\u00e8rement fid\u00e8le et m\u00e9connaissable, il sera acclam\u00e9, \u00e0 tel point que l\u2019on oublie m\u00eame la figure qu\u2019il incarnait. La performance prend le pas sur la reproduction du r\u00e9el. Le biopic ne peut ainsi jamais faire oublier que tout ce qu\u2019il nous montre est faux.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"h-a-lire-aussi-le-daim-un-mauvais-objet-cinematographique-non-identifie\">A lire aussi | <a href=\"https:\/\/leregardlibre.com\/cinema\/le-daim-un-mauvais-ocni-objet-cinematographique-non-identifie\/\"><em>Le Daim<\/em>: un mauvais objet cin\u00e9matographique non identifi\u00e9<\/a><\/h6>\n\n\n\n<p>En ne cherchant pas \u00e0 retranscrire la vie de son sujet, <em>Daaaaaal\u00ed!<\/em> se hisse parmi les meilleurs biopics de ces derni\u00e8res ann\u00e9es. Faire incarner Dali par plusieurs acteurs parvient \u00e0 se d\u00e9barrasser de cette tension: Dali devient omniscient, un concept dont les traits d\u2019identit\u00e9 les plus saillants se projettent sur chacun. On ressort en retenant non pas la prestation d\u2019un acteur, mais l\u2019accent de Dali, ses moustaches, ses costumes extravagants.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><a href=\"https:\/\/leregardlibre.com\/wp-content\/uploads\/2024\/06\/daaaaaali-2024-de-quentin-dupieux-e1717516426182.jpg\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/leregardlibre.com\/wp-content\/uploads\/2024\/06\/daaaaaali-2024-de-quentin-dupieux-1024x576.jpg\" alt=\"Daaaaaali\u0301! (2024) de Quentin Dupieux\" class=\"wp-image-523758\" style=\"width:780px;height:auto\"\/><\/a><figcaption class=\"wp-element-caption\">Daaaaaali\u0301! (2024) de Quentin Dupieux<\/figcaption><\/figure>\n\n\n\n<p>Ainsi, Dupieux a tr\u00e8s bien compris que l\u2019int\u00e9r\u00eat d\u2019un biopic sur Dali n\u2019\u00e9tait pas la course \u00e0 la v\u00e9rit\u00e9. Il laisse les tableaux du ma\u00eetre, les \u00e9v\u00e9nements marquants, le contexte familial ou social au genre du documentaire. Avec la fiction, le personnage devient un monde. Le spectateur n\u2019est plus l\u00e0 pour comprendre Dali, mais pour le vivre.<\/p>\n\n\n\n<p>On pourrait regretter que le film ne soit pas plus provocant ou radical, mais le r\u00e9alisateur se soucie de son spectateur et cherche \u00e0 rendre Dali accessible au plus grand nombre. L\u2019hommage parvient tr\u00e8s bien \u00e0 allier le d\u00e9sir de libert\u00e9 dans la cr\u00e9ation et l\u2019accessibilit\u00e9 au grand public. L\u2019\u00e9quilibre est trouv\u00e9, la formule fonctionne et trahit avec plaisir l\u2019immensit\u00e9 du peintre en l\u2019enfermant dans cette com\u00e9die de moins d\u2019une heure trente.<\/p>\n\n\n\n<p><em>Ecrire \u00e0 l\u2019auteur:&nbsp;<a href=\"mailto:jordi.gabioud@leregardlibre.com\" target=\"_blank\" rel=\"noreferrer noopener\">jordi.gabioud@leregardlibre.com<\/a><\/em><\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"h-vous-venez-de-lire-une-critique-en-libre-acces-debats-analyses-actualites-culturelles-nbsp-abonnez-vous-nbsp-a-notre-media-de-reflexion-pour-nous-soutenir-et-avoir-acces-a-tous-nos-contenus\">Vous venez de lire une critique en libre acc\u00e8s. D\u00e9bats, analyses, actualit\u00e9s culturelles:&nbsp;<a href=\"https:\/\/leregardlibre.com\/abonnement\/\">abonnez-vous<\/a>&nbsp;\u00e0 notre m\u00e9dia de r\u00e9flexion pour nous soutenir et avoir acc\u00e8s \u00e0 tous nos contenus!<\/h6>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile\" style=\"grid-template-columns:24% auto\"><figure class=\"wp-block-media-text__media\"><a href=\"https:\/\/www.payot.ch\/Detail\/la_decision-karine_tuil-9782072943546\"><img decoding=\"async\" width=\"768\" height=\"1024\" src=\"https:\/\/leregardlibre.com\/wp-content\/uploads\/2024\/06\/daaaaaali-768x1024.jpeg\" alt=\"\" class=\"wp-image-523757 size-full\" srcset=\"https:\/\/leregardlibre.com\/wp-content\/uploads\/2024\/06\/daaaaaali-768x1024.jpeg 768w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2024\/06\/daaaaaali-225x300.jpeg 225w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2024\/06\/daaaaaali-113x150.jpeg 113w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2024\/06\/daaaaaali-1152x1536.jpeg 1152w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2024\/06\/daaaaaali-1170x1560.jpeg 1170w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2024\/06\/daaaaaali-585x780.jpeg 585w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2024\/06\/daaaaaali-300x400.jpeg 300w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2024\/06\/daaaaaali-600x800.jpeg 600w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2024\/06\/daaaaaali.jpeg 1200w\" sizes=\"(max-width: 768px) 100vw, 768px\" \/><\/a><\/figure><div class=\"wp-block-media-text__content\">\n<p><strong>Quentin Dupieux<br><em>Daaaaaali! <\/em><\/strong><br><strong>Avec Ana\u00efs Demoustier, Gilles Lellouche, et Edouard Baer<br>F\u00e9vrier 2024<br>78 minutes<\/strong><\/p>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Telling the story of a historical individual has led cinema into the dead end of the biopic. \u00abDaaaaaal\u00ed!\u00bb, Quentin Dupieux's new film, tries to stand out for its originality, but does it really succeed?<\/p>","protected":false},"author":330,"featured_media":523756,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[644355829],"tags":[14291915,644341146,644356311,644340184,644339185],"class_list":["post-523755","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-films","tag-anais-demoustier","tag-critiques-cinema","tag-edouard-baer","tag-gilles-lellouche","tag-quentin-dupieux"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.9 (Yoast SEO v27.9) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>\u00abDaaaaaal\u00ed!\u00bb, l\u2019infid\u00e9lit\u00e9 r\u00e9compens\u00e9e<\/title>\n<meta name=\"description\" content=\"\u00abDaaaaaal\u00ed!\u00bb, le nouveau 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