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Wrong

Canadian Premiere
  • USA
  • 2012
  • 94 mins
  • DCP
  • English

“A singularly amusing head trip” — Eric Kohn, INDIEWIRE

“Unreservedly absurd” — Kate Erbland, FILM SCHOOL REJECTS

"Dupieux is a true cinematic visionary" — Raffi Asdourian, THE FILM STAGE

Waking up at the literally impossible hour of 7:60AM, Dolph (Jack Plotnick) discovers that his beloved dog Paul has gone missing. Unable to function, he grasps at straws to continue his “normal” daily routines — we’ll spoil none of them here! Dolph eventually has no choice but to face the obvious. Paul has been kidnapped! Desperate to be reunited with his doggie, he enlists the aid of private detective Ronnie (the inimitable Steve Little, turning in an even more eccentric performance here than in either THE CATHECHISM CATACLYSM or "Eastbound and Down"!), blowing open the doors to revelations and happenings too insane for words. Let’s leave it at that!

From writer/director/editor/composer Quentin Dupieux (otherwise known as electronic musician extraordinaire Mr Oizo) comes a colourful, delirious and waaaay off-the-hook film so wrong it can only be right. If you were among those who caught the international premiere of Dupieux’s previous oddity RUBBER at Fantasia in 2010, you’ve got an inkling of the spectacular brand of absurdist imagination you’re in store for here. As in RUBBER, arguably even more so, Dupieux employs a boundary-pushing surrealistic ideology that allows for a universe in which anything is possible at any time. Entirely dissimilar people could be mistaken for one another. Rainstorms can break out indoors. Pet owners can train themselves to communicate telepathically with dogs. Hilarious subplots abound and Dupieux turns the rational universe on its head, again and again, in endlessly inventive and surprising ways that will make even the loopiest beats of RUBBER seem like vanilla slice-of-life naturalism. A wild ensemble of performances that combine the deadpan with the outrageous further flesh out a film with a tone that is distinctly its own. Beneath the endless waterslide of gags lurks a disturbing discourse on existentialist need, making for an even more compelling work than the No Reason philosophy of RUBBER had generated (though that sensibility is certainly present as well, and wonderfully so). Dupieux is single-handedly creating his own private genre, the only remotely comparable work in recent years being that of Gen Sekiguchi circa SURVIVE STYLE 5+. And that should tell you everything you need to know. Get ready for a ridiculously fun time. No matter who you are, WRONG will set you right.

— Mitch Davis

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