Lola and her brothers: Tender passions [Critique]

Jean-Paul Rouve signs a new film marked by delicately updated family tensions.

Since When I was smallhis second film, Jean-Paul Rouvé lets emerge a skin-deep emotion. Her favorite subject: family. Memories told with great sweetness and elegance the end of life of a grandmother, and her relationship with her grandson. Lola and her brothers, to (re)see this Sunday on France 2, is in the same vein. This time, the director is focusing on a strange brother-sister trio with an original screenplay co-written with David Foenkinos, whose novel he had adapted, Memories. They weave a comedy that plays on modesty and masks whose chiseled dialogues reveal the hollows and bumps of these adults in need of bearings. There is the eldest brother who cannot manage to build a second family (Jean-Paul Rouve sober and touching), there is the youngest who eats life at 100 km an hour and is mothered by his son ( José Garcia vibrating and twisting) and there is the sister, smothered and wise who is looking for love (Ludivine Sagnier astonishing in a new register).

Between laughter and emotion

There is a lot of question of transmission and heredity in this film where the orphan siblings of father and mother meet at the tomb of their parents. The scenes around the cemetery are both touching and burlesque, so ironic is it to see these grown-up children engage in an unanswered dialogue. But the tragedy of mourning is never far from the comedy brought by the character of Jacques Boudet (a widower one imagines) who tries to preserve the solemnity of the place broken by the heckling of fraternal disputes. Thus the real problem is posed: how to succeed in building and projecting oneself when one has not been able to settle one’s relationship with the parents? This nostalgia is accentuated by the music of Jean-Jacques Goldman who rocks the film. There is also a lot of talk about the role we play in a family. The role we give ourselves, the one we are given. Manager with misunderstandings and misunderstandings, Jean-Paul Rouve thus gradually reveals the true nature of these protagonists. He did the same with the casting, uniting on the front of the poster three actors from very different backgrounds. Rouve and Garcia each represent a type of comedy: the first in the coldness and precision of the white clown, the second in the madness and gestures of the august. In the middle, Sagnier goes from one to the other, soft or brittle, she gains confidence as she gains in independence. They are the three strengths of this beautiful family film.

Lola and Her Brothers, in theaters November 28, 2018

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