In less than a week, we find the two movies completely different, but who are suffering yet the same defect… A FAMILY TO RENT, and While We’re Young from Noah Baumbach : when a developer does not find the balance between the exposure of its neuroses on film, and the use of the codes inherent in the popular cinema.

Thus it is that’A FAMILY TO RENT appears to be both extremely successful, and inevitably missed. Touching when it comes to communicate to us a certain malaise, a certain amount of maladjustment to the world / a certain strength in the face of adversity, a good mood is unwavering… But hardly credible in its reuse of support, but too much summary of revenue tattered intended to move his audience.

The pitch : Paul-André, quarantine, is a man of shy and rather introverted. Rich but alone, it bored deep and eventually conclude that what he needs is a family ! Violet, a forty-something woman full of pep, is threatened with eviction and fear of losing custody of her two children. Paul-André then offers a contract in all honor to praise his family against the buyback of its debt. For better and for worse…

It is a slight feeling of déjà-vu, when Jean-Pierre Améris resumes without subtlety, these iconic images probably from his favorite films. Imaging polardeuse 70’s of the first scene, we move on to the over-saturation typical of these comedies located to L. A.; sometimes it is thought these films with Julia Roberts, because of the neckline ofEfira and ambience socialistic-climate very “Erin Brockovitch“. The side “you’re my whore but you said no” is a reminder for him Pretty Woman Some scenes seem repompées… Ring false.

Paradoxically, it is regularly affected and moved by others, both in the comedy as in the drama. There, merge three elements that MAKE the movie, make it so endearing. The casting, the dialogues, and the personality of the filmmaker !

“Despite its large strings of dramédie romantic, A Family to Rent is incredibly sincere and personal to its author. +++ for Virginie Efira !”

The principal couple, if Poelvoorde in introvert-maniac is a good choice, but not surprising, it is rather Virginie Efira that we will take. Not only by his play sparkling, but by the credibility that it gives to every interaction, just by his energy and his sincerity. In parallel, the secondary roles (François Morel, Calixte Broisin-Doutaz or Edith Scob) ensures that the supplement of soul, and manage to defuse the appearance not very subtle, “popular comedy of the left” that has the film.

An aspect that is reflected in the very light social painting sketched by this family, or in dialogues, sometimes too intellectualisés and rigid. Fortunately, the interpretation catches up to all of this, and shows that the sharpness of the writing of the authors.

Beyond all of that, Jean-Pierre Améris talks to us about him through the story of Paul André, and his meeting with his co-writer Murielle Magellan; stamp truth serves as the binder unspeakable between the inconsistencies and the sincerity of the film, gives strength to the scenes in spite of their heaviness, directs the players to a narrowly able to forget the defects of credibility, making this a blended family in small hyper-palpable.

In the end, despite its big strings of dramédie romantic, A FAMILY TO RENT is incredibly sincere, and personal to its director. The cast does so by complementarity, to give the film a stamp sympathetic, of those who do spend a moment forgettable, but overall enjoyable.


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