Le the beginning of summer is always the occasion of the release of the famous ” film buddies “, the casting trimmed, and the scenario rather thin but filled with good humor, vacation and engueulades. A MOMENT Of ABERRATION, seemed at first to offer a cocktail more interesting and original : Vincent Cassel + plot ambiguous + film morals + remake of the eponymous film by Claude Berri (which I have not seen). But in the end proves to be much more disappointing and frustrating than films of the season-calibrated.

With the realisation Jean-François Richet, before the orders of the movies Mesrine or Ma 6T va crack-er, A MOMENT Of DELUSION this is the story of Laurent (Cassel) and Antoine (François Cluzet), bringing with them their daughters, respectively 18 and 17 years, in Corsica for holidays. In the middle of this idyllic scene, Louna, the daughter ofAntoine, is very much in love and seduced Laurent who let themselves be lead. It is going on then a game of hide-and-seek and blackmail between lovers in one evening, Antoine and Marie, the daughter.

Then, the first black point of the film : the characters. All are stereotypes of what they represent, and this as well in their own characteristics, than in the relations that unite them. The two girls spend the first part of the film blowing of discontent, to lift up his eyes to heaven in exasperation, and starting each sentence with ” oh fucking bitch … “, leading irremediably to the annoyance of the viewer. While the two fathers, one is single and has managed to stay ” young and cool “, while the other is an “old con” tending to reaction’, at the edge of the rupture with his wife, whom he suspected of frivolity. You will find in A MOMENT Of ABERRATION, an image very unpleasant to the man-woman relation. Portrayed as manipulative and malicious, the woman is always seeking to trap the man, victim, prey to her sexual instincts. What will be the master word of the relationship between Vincent Cassel : the adult at fault but a victim, and Lola Le Lann (Louna) : the teenager’s innocent, but temptress and torturer.

“By the lack of subtlety in the directing and writing, the film proves to be as poorly thought out as interpreted.”

In the second place : the cast is in free wheel. Although conducted by two hands of the French cinema, all struggling to convince. Vincent Cassel is lagging behind, lost in this film, his distinctive intonation should be pretty little to the film, it remains credible, but no more. François Cluzet manages him to transcend the very idea of on-game, in sequences “frenzied” or simply replicas mundane, which, failing to be convincing, you will be laughed at by their appearance laughable. For these two actors talent, we have the right to assume a bad direction of actors, or even the absence thereof. For the interpreter of the young Louna, the fault is far more serious and unpleasant. Any of its replicas does fly, and, worse, each of his interventions annoys, bothers him deeply. Always in the silliness and the excess, the actress is never believable. Alice Isaaz is ultimately the only one to draw its pin from the play, being both an actress great, and interpreter of the character, the more interesting : a wounded and troubled. Too bad this is the character with the most indented… This casting and direction manage as well to plant part of the film.

Only in part because the writing ends to complete the film. On the one hand the scenario ultimately proves quite hollow, redundant and not really interesting ; and on the other hand the dialogues of the actors (who are not better from the previous paragraph) are either clumsy, or just bad. Giving then sometimes in the great ridiculous, such as the famous : “The life is used to do things that we will remember the day of his death “… to meditate.

All of this comes to be completed by an achievement that reflects a lack of creativity and sweats sometimes even vulgar. Jean-François Richet, persuaded him to take in Louna his Lola, sexualized to excessive female character without it being necessary beyond measure, and does give an aspect of ridicule to these sequences. This lack of subtlety is found in the entire mise en scene. The director dares to, of course, but to finally not say anything, not then or in the subversive, nor in the reflection. Hovering over any of his subject, which is only an issue funny, A MOMENT Of DELUSION takes the form of a great joke missed, unpleasant and hateful.

Revealing that a good topic will never make a good movie, A MOMENT Of BEWILDERMENT is missed to all points of view. Is certainly wishing as a love story tinged with humour, in the image of its end, it is ultimately a comedy of awkward, uncomfortable, and poorly carried out. The lack of subtlety in the staging and writing, reveals a film so ill-conceived it has been interpreted. It follows, however, that the film is sometimes so ridiculous and stupid that you can’t help but laugh, which will have at least the merit to pass the time and will until the end credits.



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