Quentin Dupieux has a trick for attracting excellent actors to his films

But how does he manage to produce so much? Quentin Dupieux presented Smoking makes you cough at the last Cannes Film Festival, but it is his previous film Incredible but true which hits theaters this Wednesday. He directs a quartet of excellent actors – Léa Drucker, Anaïs Demoustier, Alain Chabat and Benoît Magimel – around a house whose mysterious basement holds many surprises.

The secret of this plethoric filmography? “It’s quite simple, you just have to write and shoot”, explains Quentin Dupieux to 20 minutes. Beneath his casual exterior, the director hides a hardworking soul. “His scenarios are very well written, confirms Alain Chabat to 20 minutes. It is a real pleasure to pronounce his dialogues. »

Like a recreation

Incredible but true bears witness to the bubbling spirit of its author. Time travel and a little special Japanese technology are on the menu of a crazy and cheerful comedy, capable of doing as much good to the morale as to the zygomatics. “It may be pretentious, but I’m in a period where I’m inspired,” admits Quentin Dupieux. Above all, he makes the best possible use of performers who are accomplices to a delirium that is much less meaningless than one might imagine. “Casing nothing, this film speaks of our society with great acuity, underlines Léa Drucker. Quentin Dupieux is no brainer. »

Youthism in all its forms takes it for its number when the director flirts with the fantastic to surprise the public. “The characters in the film are all afraid of aging, insists Alain Chabat. This causes them to do all sorts of things without thinking too much about the consequences of their actions. When situations turn delirious, the performers seem to take pleasure comparable to that of the spectator. Actors that Quentin Dupieux has no trouble attracting into his universe. “It’s because my set is funny, explains Quentin Dupieux. My films are shot in five or eight weeks. Compared to others, I have to pass as a small recreation. »

His freedom of tone seems to grow from work to work, confirming the singularity of his voice in the French cinematographic landscape. “Her style has something deeply recognizable even though her films are all different, that’s what makes her mark,” says Léa Drucker. What Quentin Dupieux himself baptized his “system”, a way of conceiving cinema that suits him perfectly.

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