The Second Act

The movies from the director " Quentin Dupieux " are still different compared to the others movie that we used to see from the industry well I think so I'm not a client from this kind of cinema you have to like this style if you want to love these projects but " The second act " it's not my cup of tea !!!

Firts to all the pitch it's very interesting and I was too exiting to find out the rest of script but for me the main idea who talking about is lost during during the process of script, it's too bad that the movie it's a movie in movie directed by AI and just a real story will be great...

The fact that 2 friends find an solution about the matter of one of them will be great to talking but unfortunately the movie don't talk about that finally...cause it's a movie in movie even if this is staid out finally.... Some scene are funny but not a lot neither...

The acting was very good, did so long lines it's not easy I don't if this is the improvisation or real lines learned but the acting was enough good l, mainly Raphaël Quenard still great in everything !!!

The directing as I said it's not my cup of tea, it's not a great directing with good shoots, but it is on purpose and this is the style from the director...but I'm not fan of that !!!

Not soundtrack unfortunately...

The movie "Yannick " was great and better than this one in Medium-length film, this movie seem too long cause sometimes the script it's too boring !!!

The cinematography is stunning - sharp, colorful, and detailed, with a minimal editing style that emphasizes its visual clarity. The one-shot scene between the two male characters, father and daughter scene is witty and thought-provoking, showcasing the expressiveness of the actors and sharp, suspenseful dialogue.

The writing is a highlight, packed with clever jokes and punchlines that feel refreshingly honest. The characters speak their minds in a way that's both funny and relatable. However, the film's pacing feels uneven. While the minimal cuts enhance immersion in some scenes, the lack of variety in perspectives made it feel a bit static.

The film's brevity also works against it, leaving some parts underdeveloped. Worst of all is the ending, which felt pointless and left me wondering why. In short, The Second Act is a "hahaha, meh, bored" type of film. Not bad overall, but a stronger, more meaningful ending would have changed it.

Don´t want to put too much into it, but I liked this little peace a lot, mostly because it has been shot in a kind of casual way, doesn´t seem to want to be "a big one".

It has got a different approach to the slightly surreal storytelling I had been expecting. The visuals are quite plain, the rhythm of this film is made by the actors. More dialog driven than most of his other movies, it plays with the cliches of shooting a film in a funny/clever way, has some nice twists, a not too subtle sense for self irony (of the actors and shooting independent film in AI times).... and a looong dolly track. See for yourself.

Brilliant Quentin Dupieux makes fun of cinema (his own métier) as he did before with theatre in the excellent «Yannick». And he is lucky enough to have a superb cast to give life to five actors who are working in a film, who constantly move from fiction to reality again and again, and who create a quite faithful image of all the vices (above all) and virtues of the people who make films. For them and the audience it is a hilarious and frenetic comedy, in which the story they are filming intersect with the lives of the actors, seen in a three-level game: the role they play in the film, their life as actors within the film, and as professional actors in real life.

In short, a man (Louis Garrel) asks his best friend (Raphäel Quenard) for help in seducing a woman (Léa Seydoux) who is stalking him and for whom he has absolutely no feelings. To do so, the man brings his friend to the meeting he has with the woman at Le Deuxième Acte restaurant, without knowing that she has brought her father (Vincent Lindon) to introduce him as her future partner. The quartet is joined by the restaurant waiter, played by an extra (Manuel Guillot), who suffers a panic attack and cannot properly pour wine into their glasses without his hand stopping shaking. Between these situations and the reality of the actors inside and outside the film, the events flow. Lindon receives a call to act with Paul Thomas Anderson, the actor who plays the extra has similar self-esteem problems as his character, actors turn out to be the reverse of what they pretend to be. And so it naturally flows this irreverent comedy from one of the classic iconoclast filmmakers of world cinema. A very enjoyable film.

... but someone should have called a halt to this before it made it to release!

Along the lines of "let's get four or five REALLY good actors (and that idiot Garrel) and get them to play a very meta scenario intermingling "real life" and "the film", and make some elliptical comments about AI, filmmaking and the state of the world along the way." Shame it doesn't really work, and it's certainly not funny. I feel sorry for the Cannes audience who presumably had to pretend they liked it on the night.

I must say that I have really enjoyed some of Quentin's earlier films (such as Mandibles and Smoking Causes Coughing) so was quite ready for something weird and, frankly, if it wasn't him I would have bailed on this fairly early on. But ultimately this came across as one of those homework essays that you produced on a Sunday night when you didn't really feel like it, but had to hand *something* in on the Monday morning, even if it was rubbish and not ready.

Hopefully his next film will be a return to form.