Why make a movie?
No Reason. So why not do it! Starting from this premise is that Dupieux chooses to tell the story of senseless tire that comes to life and fun to blow all kinds of objects, animals or human heads, watched by few spectators with binoculars, meeting in middle of the desert as a kind of cinema in the open air (air is not seen, and There is no reason to). Why were they there to watch together this unlikely adventure? To understand the principle of No Reason
. No Reason
, So. Why is this tire life?
No Reason. Why kill it?
No Reason.
Assuming his introductory thesis - as futile as it is - until the end of his film, Dupieux is not only evidence of artistic coherence but also flagrantly a logical film unstoppable, putting up a diegesis bipolar, swinging freely between pseudo-reality and pseudo-science-fiction and communicating between the two until the final Grand Guignol, which marks the victory of biting fiction with reality.
By giving the lead to Robert tire, human characters - finished morons, idiots dominating, pushy or bimbos neuneus jaded that end badly, with the exception of Sheila, muse - inevitably find themselves sidelined, becoming pawns by the fact that the director moves at the whim of sequences in order to serve the action first. Perhaps the film have won a few roles to amplify, reveal a few reds, but no, Quentin Dupieux assume through his deliberate choice to make
Rubber something sarcastic, crazy and anxiety, much influenced by the
Cronenberg's Scanners and slashers
years 70-80, and that makes her story all its own does not try to explain anything or outside the freedom to create. In good autocrat clairvoyant and trendy, it loads itself of photography and a part of the music, mastering the technical company to the stage.
Rubber from the points of series B do not, is to be objective evidence that the picture any idea, however slight or incongruous, may well result in a real movie theater, if is that the author takes the trouble to develop sufficiently, with a healthy dose of irony and cunning. And just for that, he deserves to be commended.
And then as instantly on facebook it rained, I turned my easel worm and I tested it with oil, to do with real tool, in short, I just discovered a great thing with my knife, I'll continue with more complex stuff, the background color etc.:) 
That's that stood the emblematic figure of the mad cinema sessions (on TV) from my childhood: a pristine white hair, blue eyes, a big nose and teeth crooner. I still remember sitting down on the floor in a dressing gown (yes there is a little over fifteen years, we still put gowns ...) and put down for the umpteenth time of the VHS Y Did a cop to save the Queen? the generic introduction unforgettable, I knew almost all the dialogues by heart (no do not ask me this today, I kinda forgot). To not use the words of my friend in her pretty Anderton ticket this here, for lack of farts, I had a good session to piss laughing at the huge gags performed by impassively this immense comedy actor who has just left us at the beautiful age of 84 spring: the great Leslie Nielsen. 
Why make a movie? No Reason. So why not do it! Starting from this premise is that Dupieux chooses to tell the story of senseless tire that comes to life and fun to blow all kinds of objects, animals or human heads, watched by few spectators with binoculars, meeting in middle of the desert as a kind of cinema in the open air (air is not seen, and There is no reason to). Why were they there to watch together this unlikely adventure? To understand the principle of No Reason . No Reason , So. Why is this tire life? No Reason. Why kill it? No Reason. 
It's really not easy to get an opinion on this monumental work of the prolific Raul Ruiz, who was for me first experience of cinema which was told as well ... and so much evil. 
were not expecting much. Again the Argentine cinema gives us a rare gem, propelled on French screens with any combination of 18 small copies by a distributor bold, capable of making such large differences between the viscous Die Like a Man and Adorable Wendy and Lucy . I 
Speaking French, Kaboom could be the cinematic portrayal of a sexual act of one hour twenty six minutes, including preliminary . After an appetizer colorful during which the real pussy is clipped and assembly of deliciously kitsch Araki can initiate a copulation with the entry of the character of London, a sort of little white rabbit even though rogue pig. Phase during which we can leisurely enjoy some visual effects obsolete long guts, and damn funny dialogue punctuated by carved closeups surgery on organic materials as diverse as Gerber. As it sinks in a story becomes increasingly surreal, we understand that we must resolve to leave the terra firma for a bit from highest to seventh heaven, and we will ensure to keep pace regularly change position in the final straight, as the film changes gender from the teen-movie science-fiction with a joyful abandon. Then everything speeds up and we feel the sap rise - and the approaching end - cutting through a grinder is giving the whole a bit more the appearance of a bad trip up orgasm final spurt in an absolute nihilism, which gives the title its meaning, occurring after a short moment of silence and neglect drowned in doubt (and yet, there is really no question at the end of cul Film!). 
