The comedy “French” abound for these last years and a current new comes up to to drill into a canvas quite thick made up of players confirmed in the genre.

See François Damiens – we only really get to know at the cinema that, since OSS 117 – Cairo Nest of Spies in 2006 in a small role – headlining a movie is a small event in itself. And to see them succeed to cross a bar which was not so easy as it is a second.

Must say that the guy is more used to supporting roles and it has been known for that. This and the now famous passage in his hidden cameras, all the more hilarious one than the other.

In front of him, a Pascale Arbillot , which came out of The Small Handkerchiefs, so not too much in the same vein at the level of genus.

This duo unpredictability is brought together in the film Alexander Trunk, first realization of a feature film- his second will be Eyjafjallajökull, with Dany Boon, which will be released next October – which works quite well in terms of staging. The latter does not fall within the lump with an ever-present action, it does not fall not in a humour that does not laugh, because, yes, we smiled and laughed in PURE MATTER, it will take time.. get use to it.

An improbable story, skillfully blending case of drugs, stress at work and scenes of the funny. The comedy works and does its job : entertain.

We will take the game along – not without a side voyeur – the duo face up to the problems that follow, and accumulate, with a Brice Teller (Laurent Lafitte) con, but ambitious – sorry – and in the line of sight of a Boss (played by Gilles Cohen definitely always subscribed to the role of the villain), playful, but dangerous.

“Skillful blend of drug deal, work stress, and humor. It does its job : entertain “

In the background, a real and current problem of society, the eternal lack of money following a dismissal and the duty to meet the needs of his family. This dramatic side of the movie is fairly well received, and passes by the children and the father (Didier Flamand).

PURE MATTER is a comedy cool but creepy, funny but bitter, a balance between the humorous and the scathing. A good discovery, that of a François Damiens now well anchored in a leading role, that the eclipses of the hidden cameras in which it had taken refuge and in which he will have to now count.


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