Watch Entr'acte For Free

To me, this movie is perfection.

Great Film overall

Better Late Then Never

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

This 20-minute black-and-white film from over 90 years ago is a perfect example of what experimentalism is about. It does not make sense, there is no real story and all the character's actions are unrealistic. Now, if I would like this type of film, I certainly would have enjoyed it, but unfortunately this is not my cup of tea. Some moments are entertaining admittedly, but as a whole I was not impressed at all. This French film is certainly among the most known short films from the 1920s that do not include one of the masters of silent film in their cast, such as Keaton, Lloyd, Chaplin etc. It was the first and maybe most famous film by writer and director René Clair, in his 20s here, who had a long career afterward and made movies until the 1960s. Also his first performance here gives Man Ray who is probably a name to most people with a deeper interest in early experimental movies. I am not one of these, therefore I was not wowed and cannot recommend "Entr'acte".

René Clair's "Entr'acte" is one of the pioneering films of the surrealist genre in cinema, which, from what I gather, is the attempt at bending reality and twisting all that we've come to know into something deeply strange but entirely mesmerizing. Heavy on its use of perverse or unique imagery and juxtaposition of images and sequences and frequently rejecting the conventions of linear, dramatic filmmaking, such surrealist filmmakers today, such as Quentin Dupieux and Terry Gilliam, focus on a wide-range or visual styles in addition to wacky, out-there humor that is sometimes funny because it doesn't make a bit of sense (otherwise known as "anti-humor").When it comes to "Entr'acte," however, we have an intriguing piece of film on our hands, one that serves as an early film of the "dadaism" movement in art, where European artists, writers, poets, filmmakers, and theorists began to reject commonly- utilized devices in art of the time in favor of a more radical approach to their mediums. These often included the injection of leftist policies and believes, most specifically anti-war policies that began hitting their stride as World War II neared.Just by watching the first few minutes of "Entr'acte," one can see that it has no desire at all to try and fit in with conventional artistic standards. It serves as a conglomerate of visuals from the dadaist period, many of which not making very much sense, but each provoking a genre-bending fascination amongst the audience. The opening scene itself is something to marvel at, showing two people firing a cannon from the top of a large building, while strangely-calming and infectious music is played in the background.The film persists on, with numerous different visuals that were likely never before seen outside of this particular work. What's remarkable is that despite the film's age, scenes involving characters running in slow motion and then being sped up into running in fast-motion after a vehicle still hold a certain kind of power to them. Overall, there's a mesmerizing quality "Entr'acte" bears that is surprising to note seeing as it perfectly defines a film that was "the first of its kind."Directed by: René Clair.

This is an avant-garde movie and as such it's theme and plot are unclear, which is as intended because the movie is ore about special effects than about telling an actual story. This movie directs the audiences' attention to such everyday occurrences as movement, personal interactions, dancing, and running. People are part of some kind of funeral procession, but what catches the attention is the various actions that take place as the procession proceeds. Mourning is replaced by an almost frenetic need to stay active, and the movie shows this through the use of some innovative techniques, including slow-motion, use of montage, and multiple superimposed exposures, all of which convey the sense that something intense is happening. This movie is an excellent example of the French avant-garde genre which had a major influenced on cinematic styles in Europe and the United States.

We were shown this film in a class where at least once during each class, I start to nod off to sleep. Maybe it's the time of day, or the too-dark lights, but even during one of the Jean Vigo films we saw it didn't grab me. This one did, however, as it is one of the best short films of the 20's, or at least one of the more ambitious ones of the time. There are plenty of Freudian symbols, or maybe spoofs and in-jokes on the symbols (i.e. phallic imagery, cannons, guns, balls, and obsessions with looking up women's skirts).But more importantly there is an almost need to break through anything expectable. Unlike Bunuel's Un Chien Andalou, however, Entr'acte even goes for the manic and cartoon-like. Like Bunuel's film, there COULD be a certain thread of a story in the proceeding, if you try to take one to mind- here the story could be the unexpected tragedy of death turned up on its own head. However there is also the latter part of the film, which involves a large group running after (in trademark, hilarious fast-motion film) a hearse running down a road. It's a kind of peak of stimulating silent-film cinema, where everything being done can now be just as easily done- and is- on a daily basis by music video directors.Yet Clair is so inventive with his techniques, of pushing a speed and tempo with his style, that it works well despite making no sense on the surface. It's a film made in the heights of French impressionism and surrealism, and the almost sheer confidence of the filmmaker here propels it into being unforgettable in a way. Most will seek out the Bunuel early works first, of course, but along the way this is worth a shot. At the least, you'll have your own interpretation once its done, not shoved down your throat.