I have my own take on this but I'm not sure it's all that relevant. At the end of the day dada is the liberty to connect my own dots. I see the passing of life in confusion and the democracy of death: as far as we know, every person ever born has died. Join the club. But as time has passed what stands out to me most about Entr'acte are the feelings evoked by the images. Stunning.
I appreciate this film's historical value, the opportunity to witness Paris of the mid 1920, the dada movement and some of its prominent supporters at the time. The nature of this production is definitely experimental, and visually it's quite impressive, especially considering the time period. As an overall experience though, I don't feel there's much to be gained here...
4.5 ⁞ Brilliant exploration of the film medium and different techniques, with the slow motion and the shot below the dancer being my favourites. The music by Erik Satie greatly contributed for the ambience as well. With almost 100 years since the film, this is also a nice piece of the context of those times.
Voilà une belle échappée (de cercueil...) dada-surréaliste, parcourue des mouvements (sautillants...) de quelques grandes figures. Et aussi d'inversions entre haut et bas, de superpositions à géométrie variable, d'envolées chaotiques, de coupures abruptes... La musique de Satie, absolument haut de gamme (ah ah ah), relève le défi de coller à ces bizarreries savamment montées...sur un dromadaire, évidemment !