Quentin Dupieux returns with The Second Act, a playfully dour satire on the film industry that sees the French absurdist delve further into the apocalyptic moo...
Cannes begins, against all reason, two weeks from today, and with it comes the trailer for this year's opening-night selection. (Arriving in French theaters th...
Quentin Dupieux works at such a dizzying clip––"the French Hong Sangsoo," they're calling him somewhere, I assume––that a film of his so readily grabs our atte...
At the time of year where every other film is a biopic chasing prestige respectability, we are lucky to have Quentin Dupieux, the prolific, serious-minded, sil...
Editor's note: Last year at Berlinale, Rory O'Connor caught up with Quentin Dupieux who was there to premiere Incredible But True, which would go on to be the ...
Working at such a clip it can be hard to discern when his films actually arrive stateside and on what platform, Quentin Dupieux's second movie of last year, Sm...
Teeming with all kinds of freaks and plots that toggle freely between the real and the absurd, Quentin Dupieux's films are the work of an inveterate, shameless...
In Being John Malkovich, an entire half-hour passes by before John Cusack’s hangdog puppeteer peaks behind his filing cabinet and finds a tunnel to another man...
Another year, another Quentin Dupieux oddity. While the specter of new work from "the guy who made a movie about the killer tire" has, perhaps, worn down in th...
Like the giant fly in Mandibules, director Quentin Dupieux has been buzzing and provoking us for roughly the past decade, trying to build a reputation as a new...
