From the first minutes, Mélanie Thierry is all the plans. Ultra tight, golden light sometimes, angular face or lateral face, or even cut to let your gaze jump in a vacuum or fix the melancholy (apparently) Rue de Rivoli. The white quadra -collar is sad and it shows. Lost in the meanders of capitalism, of his sad and material life.
Actor and Actor Alex Lutz, now a filmmaker confirmed later The talent of my friends (98,000 tickets in 2015), the very good Boy (182,000 tickets in 2018) and One night (117,000 admissions in 2023), this time attacks Nicolas Mathieu’s successful novel, ConnemaraPublished by Actas Sud Editions in 2022. but added many bulky plans and unnecessary to its history.
Provincial love on ice
His fourth feature film exhibits the life of Hélène, a bovary of the modern times of Emma (Mélanie Thierry, therefore) that, tired, disgusted by his life of the Parisian office (an exhaustion to say it more clearly) and his family responsibilities, choose to go “to recharge” in his native country (to the east of France). There, he gradually moves away from her husband (Grégory Montel) and then Racroise, in the rainy parking lot of a bowling alley, between two sessions with the shrink, the most popular type of her high school, former captain of the ice hockey team (Bastien Bouillon).
An already seen impression? Normal. Go to a dayAmélie Bonnin’s first feature film and the Chic Opening film in Cannes released on May 13, told the same story more or less. Even Bastien Bouillon was already in the game (next at this time by Juliette Armant), also camping the cut type that was supposed to wake up the bourgeois locked in their Parisian train. A cat of Titanic “Vacuum Diagonal” version. Or a sylvain of Simple as Sylvain Without the ax and the pictures, but with the skates.
But where Amélie Bonnin incorporated lightness, pop and colorful melodies, a breath, an impulse, Alex Lutz imposes, he, a staging, if not heavy. In question? An exploited chronology, made of ellipses and flashbacks, premature blurred, little step, an introspective and closed systematic voice in its actress, which freeze history instead of moving forward.
Triumphant
However, the actors do their best to tell peripheral France and the disenchantment of capitalism. Alchemy between Mélanie Thierry and Bastien Bouillon works well, her languid hugs wake up the film, her way of telling Nicolas Mathieu’s words too. In a moment, Mélanie Thierry’s comic potential appears even when, sitting at the counter of a bar, touches the annoying flirting against Belân with the brown wick.
But, as Nicolas Mathieu’s novel, Melancholy always sees Hélène. Whether you are looking for an Apple Green campaign in disuse, a busy road, children’s games or beds, whether it stops their children, be taken against her mother (Célarié Clémentine) that reproaches her for everything and nothing, always remains locked in her sadness. Never instead. Depressed and depressing, even in Michel Sardou.
Source: BFM TV
