Using dark humour, Dupieux focuses in maladjusted lead characters that try to fit in a world that doesn´t accept them. These characters’ dreadful solitude transforms the filmmaker’s sophisticated humour into absurd tragedies.

In “Rubber” (2010), a lonesome tire seems to start a revenge against the human race, leaving a community on the brink of a nervous breakdown. “Wrong” (2012) presents Dolph Springer, an American small town man whose dog is strangely kidnapped and it changes his life. “Wrong Cops” (2013) shows us the daily absurd story of an unethical group of cops. In “Reality” (2014) we follow a TV cameraman that wants to be a filmmaker but gets tangled in a vertigo of endless dreams.

Thus, Quentin Dupieux films are characterized by the absurd that emerges from seemingly trivial and day-to-day stories. Dupieux’s humour is sometimes sophisticated and other times plainly absurd. It develops a kind of post-modern iconoclasm confusing the viewers’ expectations. The great virtue in Dupieux’s films is to cause despair or laughter, showing how the contemporary world is, most of the times, naturally unintelligible. To enter in this narrative maze is, consequently, a bold move, but fully delightful as a cinema experience.