The Second Act

This year‘s opening film at Cannes shows France‘s enfant terrible Quentin Dupieux at the height of his art of breaking audience expectations, turning
the rules of film narration on their head and being an inexhaustible source of the wildest inspiration. “The Second Act” tells the story of David, who would
rather drive his conquest Florence into the arms of his buddy Willy than end up in a committed relationship himself. Florence, on the other hand, plans to
introduce David to her father immediately to underline the seriousness of her intentions. The four of them meet in the café “Le Deuxieme Acte”. The way he
constantly breaks through the fourth wall of narration and repeatedly sends the viewer on a blindfolded search for orientation, as if playing “Hit the Pot”, is a highly enjoyable cinematic puzzle. The wonderful actors around Lea Seydoux, Vincent Lindon and Louis Garrel also seem to visibly enjoy this game of role
reversal. Just like the characters on the screen, we are always looking for the separation between the film set, movie scenes and real life. Dupieux is the new
master of Dadaism, a legitimate descendant of the great Kurt Schwitters.