In love with my wife: The disappointment, despite the casting Daniel Auteuil-Gérard Depardieu-Sandrine Kiberlain [critique]

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Auteuil missed his shot with this bland adaptation of Florian Zeller’s hit play, L’vers du décor.

In April 2018, shortly after being nominated for the Caesar for The Brio, Daniel Auteuil was back as an actor and director for In love with my wife, the adaptation of a successful play by Florian Zeller (who hardcover at the last Oscars thanks to his film The Father, with Anthony Hopkins).

For this comedy broadcast for the first time in clear this evening, on France 3 (and followed by M, by Sara Forestier), Auteuil surrounded himself with Sandrine Kiberlain and of Gérard Depardieu. These pundits of French cinema are accompanied byAdriana Ugarte, a Spanish actress directed in 2015 by Pedro Almodóvar in Julieta.

Daniel Auteuil: “I almost gave up the role of Ugolin”

The pitch? Daniel (Daniel Auteuil) is very much in love with his wife (Sandrine Kiberlain), but he has a lot of imagination and a best friend (Gérard Depardieu) sometimes cumbersome. When the latter insists on a dinner “between couples” in order to present his brand new, and very beautiful, friend (Adriana Urgarte), Daniel finds himself stuck between his wife who knows him by heart and dreams that surprise him himself.

Unfortunately, despite this tantalizing cast, the film was a disappointment for the editorial staff of First. Here is our review: Daniel Auteuil-Gérard Depardieu-Sandrine Kiberlain: an exciting poster, to say the least, which in the end only adds to the disappointment felt in front of this adaptation of Florian Zeller’s play, Behind the scenes. Or the story of a man very in love with his wife who receives his best friend “between couples” who has come to present his new and very young companion to him. And this dinner for four will prove to be an infinite source of inspiration of fantasies around this young woman with pleasant shapes. Five years after the famous trilogy MariusFannyCaesar by Pagnol interrupted two-thirds, Daniel Auteuil therefore returns behind the camera while taking on the role of the loving husband he created on stage. But very quickly we understand that the ping-pong, which could be effective in the theater, slips painfully here. The story lacks fluidity, the “dream” scenes seem to have been posed artificially and crudely. And we never get rid of this impression of (poorly) filmed theater. The interpretation is revealed there to match as if everyone had put themselves on automatic pilot to instinctively save their skin in this entertainment without rhythm and specific to the exits of the road. Including in the treatment reserved for women who, by dint of clumsiness, involuntarily but dangerously flirt with lewdness. Amazing a few months ago in The brio which had rightly earned him his first César nomination for 13 years, Daniel Auteuil confirms that the director’s position is really not the one that suits him best.

What is the value of In the name of my daughter, the film on the Bamberski affair with Daniel Auteuil?

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