Since his delirious 2007 debut, Steak, DJ turned director Quentin Dupieux has kept up a steady pace of one or two feature films a year, making him among the most prolific directors currently working in France. One of the ways he pulls this off is by being a cinematic one-man-band, penning his own scripts, then shooting, editing and sometimes scoring his own movies, which tend to clock in somewhere between seventy and ninety minutes.
He’s tackled many different genres over the past decade, from comedy to thriller to horror to sci-fi, often blending two or three of them into a single story. And yet what all his films have in common is a totally absurdist, idiosyncratic approach that mixes high-concept plots with a tone best described as deadpan surrealism. In a sense, he’s invented his own genre by now, which I guess the French would call “Dupieuxien,” as in:...
He’s tackled many different genres over the past decade, from comedy to thriller to horror to sci-fi, often blending two or three of them into a single story. And yet what all his films have in common is a totally absurdist, idiosyncratic approach that mixes high-concept plots with a tone best described as deadpan surrealism. In a sense, he’s invented his own genre by now, which I guess the French would call “Dupieuxien,” as in:...
- 8/18/2023
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Wild Guitar (1962).The films of low budget director Ray Dennis Steckler present a unique balancing act between familiar B-movie tropes and the unexpected. With Wild Guitar (1962), The Incredibly Strange Creatures Who Stopped Living and Became Mixed Up Zombies!!? (1964), The Thrill Killers (1964), and Rat Pfink A Boo Boo (1966), Steckler, a self-acknowledged Hollywood outsider, crafted a series of idiosyncratic low budget features in the heart of Tinseltown before eventually decamping to Las Vegas in 1970 for a career in porn and to teach film classes at the University of Nevada. In these energetic early films, his characters—drifters, rock ‘n’ rollers, killers, dropouts, superheroes, and struggling actors—seem to be plucked from Hollywood Boulevard and set down in a pulp comic come to life. The Hollywood strip appears again and again in the director’s films as a symbol of intoxicating fantasy and disillusionment. Indeed, Steckler’s work embodies, at first glance, a simple teenage dream of celebrity,...
- 6/13/2022
- MUBI
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