Avis des critiques

Like Ospina’s great termite film about his painter friend, Quelle follie and Brisseau, 251 rue Marcadet are, in each of their divergent ways, painfully revealing depictions of intellect and comportment.

It’s slyly reflexive, avoids hagiography while clearly admiring Brisseau and his work, and prioritizes giving space to the director to articulate himself, whether consciously or unconsciously.