Summary
René Clair and Francis Picabia's 'Entr'acte' unfurls as a quintessential Dadaist spectacle, a defiant rupture from conventional cinematic narrative. The film opens with a disorienting, rapid-fire montage, introducing a bizarre chess match played atop a skyscraper, a scene that immediately establishes its commitment to the absurd. The sudden, inexplicable demise of one of the players (or perhaps a random bystander, for logic is irrelevant here) precipitates a funeral procession of monumental, chaotic proportions. A hearse, bearing the deceased's coffin, embarks on an increasingly frantic, runaway chase through the streets, transforming the somber ritual into a madcap, slapstick pursuit. The coffin itself, untethered from gravity and decorum, careens wildly, tossing its pallbearers and eliciting a frenzied scramble from a growing throng of onlookers. Just as the pursuit reaches its fever pitch, the coffin inexplicably halts. In a final, audacious act of anti-logic, the 'deceased' protagonist miraculously re-emerges, alive and well, from his own casket. With a mischievous flourish, he then causes the entire bewildered crowd, who had just witnessed his resurrection and the preceding pandemonium, to vanish into thin air, leaving only an empty frame, a final, provocative gesture against artistic expectation and audience credulity. It is a cinematic prank, a joyous demolition of sense and structure, designed to provoke, amuse, and utterly confound.
Synopsis
An absolute dada movie. Somebody gets killed, his coffin gets out of control and after a chase it stops. The person gets out of it and let everybody who followed the coffin dissapear.
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