[CRITICAL] THIS THAT BINDS US

Between family stories and the quarrel of a couple, which binds us, the last thought of Cédric Klapisch, looks like wine is a bit corked.

Here a long time that there was no right to a movie that smells like the French countryside. This is done with the last film in Cédric Klapisch, WHICH BINDS US. But attention, this that binds us here, it is mostly the burden of the characters that becomes a little bit ours too. Because, apart from the question of inheritance and marriage problems, WHAT BINDS US is primarily based on a great vacuum.

Juliette and Jérémie (Ana Girardot and François Civil) have taken over the family vineyard. Their mother died and their father seriously ill, is on the point of the join in turn. Return of the prodigal son, John (Pio Marmaï), a party to go round the world and which no one has new since four years. If Juliette is excited to find her big brother, Jeremiah, he is more remote in front of the one who has not even deigned to manifest itself upon the death of their mother. As in all the films, full of good feelings, quarrels, base scenario, are quickly swept away in favour of a scene of siblings – where John helped Juliet and Jeremiah install a tub. The brotherly sense prevails, and we can therefore move on to the next. Except that the result is almost non-existent, and focuses around a thin plot : the father now dead, bequeathed his farm to his three children jointly, will sell-they then farm ?

We know the penchant of romantic Klapisch telling stories sensitive that speak to everyone. We also know that he likes a little too much to the opportunities of writing that caress in the direction of the hair, and sometimes, we admit, we like. This time, however, Klapisch has been a bit too lazy. No surprises during those four seasons burgundy. The film is a dire lack of incarnation. Everything seems made to go in the direction of a story expected, the dialogues, very sitcom, are bland, and the scenes of “fried”, the feast of end of harvest, do not even place at a time living and removed. To top it all, Klapisch goes as far as to film the childhood memories of Jean using flashback in slow motion, worthy of a pub Barilla (and with Eric Caravaca father to very hairy). It is a pity, it was known more subtle, more funny and more moving.

WHAT BINDS US will please in spite of everything to those sensitive to the charm of Pio Marmaï, to the fans of Ten percent (produced by the same Klapisch) who will be delighted to find “Hippolyte” (François Civil), the lovers of good wine have a dry throat and to those who play as John and Jeremiah to double fake dialogues, observing people from a distance. For the rest, it will go its way and then we’ll go drink a good thought to get over Cedric Klapisch little inspired.

Anne Laure Farges

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