Cannes at Home: Day 1 – Quentin Dupieux is the King of Weird

by Cláudio Alves

Léa Seydoux and Vincent Lindon in THE SECOND ACT.

Another year, another edition of the Cannes at Home miniseries, specially made to combat cinephile FOMO for those of us not at the French Riviera. For the next week or so, let's explore the filmographies of directors in competition. However, since the festival opened with the latest Quentin Dupieux project, it seems fitting to start our at-home festival by considering the auteur's career and the oddball creations that have made him something of a king of weirdness within contemporary French cinema. Not that such status comes with guaranteed acclaim. The opposite is true, with Dupieux's cinema caught in perpetual polemic, each work more divisive than what came before. 

Such is the case with The Second Act, where the director proposes a comedy on the absurdities of making an AI-based film. Not even Léa Seydoux, Louis Garrel, Vincent Lindon, and Raphaël Quenard could prevent the usual, not entirely undeserved critiques that befall every new Dupieux…

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Sherlock Jr. @100: For the love of Cinema

by Cláudio Alves

This week, one of the best comedies ever made and a silent film masterpiece celebrates its centennial. It's none other than Sherlock Jr., Buster Keaton's 45-minute miracle of stunt work and cinematic considerations about cinema as materialized dream and broken escapism. A meta-movie for the ages, I consider it the old Stone Face's crowning achievement. Sure, The General is much more complex and Steamboat Bill, Jr. trumps it in sheer iconography. As for technical innovation, something like The Play House is probably Keaton's peak. However, there's something special about the 1924 lark, a simplicity that bolsters perfection, an ingenuity that rekindles my love for cinema whenever I set my eyes on it…

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Drag Race RuCap: “Corporate Queens”

Nick Taylor and Cláudio Alves are following and recapping RuPaul’s Drag Race season sixteen. This week, it’s time for episode eleven…

But are you, Q? Are you really?

CLÁUDIO: It gives me no pleasure to say it, but there’s no denying what’s so self-evident - this was the season’s worst episode so far. “Corporate Queens” is already a dicey proposition based on its maxi-challenge format, which tries to recapture some of that Drag Con magic from season 10 while also declaring itself the season’s stand-up show. Make up your mind! Add to that a bevy of mediocre performances and nonsensical judging left and right. To make things worse, the behind-the-scenes team has explicitly forced the edit around one queen’s story, only to pull the rug from under her at the eleventh hour. While it provides a strong candidate for face crack of the century, it’s also a good way to sour the viewer’s experience. The lipsync was good, I guess. Still, a flop.

NICK: Mama, kudos for saying that. For spilling . . . .

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SXSW Review: "Audrey"

By Abe Friedtanzer

Siblings have surely wished for a brief frustrated moment when they were young that they were only children, and parents might have also momentarily considered whether their lives would be easier if they hadn’t had a child. But those thoughts shouldn’t linger much, and if they do, it’s probably not a good thing to say out loud. Audrey tells an entertaining story of three people who find that things are a lot breezier when one member of their family is in a coma and no longer actively complicating their lives…

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Almost There: Margot Robbie in "Barbie"

by Cláudio Alves

Everybody complains about comedic performances not getting their due on awards season. But of course, the instant such work becomes a serious contender, the knives come out. These achievements are generally dismissed, as if straight drama was inherently superior to broad comedy. I'm not accusing anyone in particular, but it is a phenomenon that can be felt across cinephilia, especially when it involves a movie like Barbie, which tapped into the zeitgeist and somehow became one of the year's defining movies. I thought about writing on the reaction to Ferrera's Best Supporting Actress nomination or how the tides have turned on Gosling as the season unfolded. Yet, Robbie was perfect for the Almost There Series, so here we are. 

With the 96th Academy Awards mere days away, the dust should have settled after the collective psychosis that followed the movie's "snubs" in Best Director and Best Actress. At least, I hope cool heads prevail as I dive into Margot Robbie's portrayal of Stereotypical Barbie…

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