Reseñas de la crítica

Yannick finds [Dupieux] looking unexpectedly inward and demonstrating a vulnerability that’s absent elsewhere in his body of work — but not at the expense of either his tongue-firmly-in-cheek outlook, or his predilection for self-destruction.

Both drawn-out and deceptively simple... Dupieux’s latest will either annoy or charm you depending on how much you appreciate being led around by the nose by a filmmaker and a cast of characters who seem pretty committed to jerking you around.

Dupieux’s fans will be happy to know that his surreal humor is gloriously intact, while newcomers might find in this movie a gateway into one of contemporary cinema’s most idiosyncratic universes... A funnier skirmish from the culture-war front would be hard to find — and then Dupieux provides a final twist dabbed with unexpected emotion.

Yannick does not appear to be part of a coherent career plan, if [Dupieux's] ever had one. It’s a side venture, an experiment in art for its own sake, but that’s exactly the kind of thing he excels at. This may be, ironically, rather stagey, but for all its artificiality and slightness, it packs an emotional punch.

Yannick is a weird mix of Scorsese’s The King of Comedy [and] Haneke’s Funny Games... It’s an amusing idea, which incidentally features an acid wisecrack about arthouse cinema good taste.

Dupieux may well balk at the idea of being taken seriously, but Yannick is one of his most thought-provoking objects to date, a film that puts the director’s comedic muscles in service of a story designed, among other things, to question our understanding of spectatorship.

[Yannick] which is just over an hour long, dishes out some smart twists and a few good laughs, as well as a decent level of suspense. But like many of Dupieux’s movies, it’s also a strong concept in search of something more.

In many ways, Yannick serves as a meta-commentary on Dupieux's oeuvre, presenting an alternative vision of zany comedy. While one might hesitate to label him the 21st century's Buñuel, there's no denying that Yannick echoes The Exterminating Angel, albeit with Dupieux's twist that is more satirical then allegorical.

Dupieux has concocted both a ripe comedic premise and a chance to interrogate what audiences expect from art: Diversion? Entertainment? Uplift? Provocation? “Yannick” gets us noodling on these questions, while also fulfilling Dupieux’s own idea of what a movie should be, all without overstaying its welcome.

Quentin Dupieux has penned and directed a pithy, robust and thoroughly entertaining 65-minute comedy that raises some very serious questions about the relationship between the artist and the audiences, and tests their connection to the extreme.

Like a comedy sketch stretched far, far beyond its welcome, Yannick is convinced it’s funny, and Dupieux himself states with confidence, “99% of films are boring. This one is not,” but sadly the declaration is just an empty promise.