Florence (Léa Seydoux) is beautiful and head over heels, but David (Louis Garrel) wants nothing to do with her and tries to set her up with his friend Willy (Raphaël Quenard). Meanwhile, she’s making all the arrangements to introduce her beloved to her father, Guillaume (Vincent Lindon). If the plot of The Second Act (Le Deuxième Acte) by Quentin Dupieux, which opened the 77th Cannes Film Festival on Tuesday night, May 14th, out of competition, sounds silly, that’s because it is. On purpose.
In this comedy, Dupieux, the director behind Deerskin (2020) and Yannick (2023), uses meta-humor to poke fun at the potential effects of artificial intelligence on filmmaking, actor egos, the push for greater inclusion and representation, and the fear of cancellation. It’s curious that it’s premiering just as rumors are swirling about new allegations of sexual and professional harassment against French actors and filmmakers potentially coming to light during the Cannes Film Festival, as France experiences a belated #MeToo movement.
But in The Second Act, Dupieux isn’t interested in statements and certainties. He’s trying to go for laughs. Despite a few good zingers and the talented cast at his disposal, the director rarely hits the mark, stretching certain jokes far too thin.
The Second Act is the second French comedy about a film within a film to open the Cannes Film Festival in the span of three years. In 2022, Final Cut (Coupez!), a film about shooting a zombie movie directed by Michel Hazanavicius (The Artist), launched the event.
Maybe it’s time to switch things up a bit.
By Mariane Morisawa, in Cannes
- Read more: Léa Seydoux movies to watch online
Besides The Second Act, check out our full coverage of the 2024 Cannes Film Festival:
- ‘Anora,’ Cannes Palme d’Or Winner, is a near-perfect movie that humanizes a stripper
- ‘Wild Diamond’ review: teen wields beauty as a weapon in Cannes 2024 standout
