Surrealism is based on the belief in the superior reality of certain forms of previously neglected associations, in the omnipotence of dream, in the disinterested play of thought. It tends to ruin once and for all, all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life.
A working definition of what Dupieux might be up to begins to take shape: unexpected associations and juxtapositions (a Southern California landscaper speaking French-accented English); dreamscapes (a dog riding the bus, reunited with his owner); resolute playfulness (heavy downpours inside a nondescript office building). So close to Breton's definition is Dupieux's version of Surrealism, in fact, that it resembles a relic from another age -- a curiosity found rummaging in culture's closet, mothballs and all.
"Wrong," which Dupieux wrote, directed, photographed, edited, and scored, follows Dolph Springer (Jack Plotnick, of "Reno 911") as he searches for his lost dog, Paul.
To be frank, that's about as far as synopsis can go. I could tell you that the palm tree in Dolph's backyard mysteriously becomes a pine. I could tell you that he encounters a shadowy figure named Master Chang -- played by well-known character actor William Fichtner, layering on so many oddities of inflection, accent, and movement that the performance becomes a black hole in the center of the movie, absorbing any light that approaches its orbit. I could tell you that the film includes an extended deconstruction of a pizza place flyer. But I could not promise you that any of these constitute "important plot points" or "illuminating details" or "useful ironies," because then I would be lying.