Maryline: Guillaume Gallienne (too) under the influence [critique]

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Guillaume Gallienne’s second film openly quotes John Cassavetes. Frankly jaw-dropping.

France 2 will broadcast two unseen French films in clear, this Sunday: at 9:05 p.m., place in At fingertips, with Lambert Wilson and Kristin Scott Thomas, then at 10:50 p.m., it will be Guillaume Gallienne’s second film, Maryline, which will be proposed. Here is our review.

The platinum-blonde bouffant square frames a look that is sometimes laughing and sometimes desperate. In Maryline, portrait of an apprentice actress worn on the bottle, Adeline D’Hermy looks like Gena Rowlands in Opening night, model for all the “perform actresses”, beautiful, ravaged (by alcohol, madness, passion), incandescent… For his second feature film, Guillaume Gallienne makes overwhelming quotes without succeeding in finding his way: fallen portrait ? Family melo? Chronicle of loneliness? Drama of atavism? The director doesn’t cut corners and offers a wobbly black variant of Guillaume and the boys at the table! around its place to find – and to do – in the artistic world – if possible.

Boys and Guillaume, to the table ! or the hilarious vanity of Guillaume Gallienne [critique]

Too disjointed

The first minutes of Maryline are painful. The heroine, part of her province populated by freaks (the mother speaks in incomprehensible hiccups), arrives on a set where she is thoroughly humiliated by the director. Why so much silence and masochism? In the following sequence, we discover that she is drinking. Many. We still do not know why but this causes scenes finally embodied and touching, in particular between Maryline and a great actress (Vanessa Paradis, impeccable, passes in gust of wind) who, perceiving her potential, takes her under his wing and uninhibits her. Suddenly, Maryline no longer drinks and the romantic unfolds a little. Bad luck, her current lover is an alcoholic. Fortunately, his mother speaks again normally … Disjointed as possible, crossed by rare moments of grace, the film benefits from the lived interpretation of Adeline D’Hermy and from a careful staging which makes us regret the lack of coherence and the absence of a strong point of view.

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