Of Kheiron, we knew especially of the talents of stand-up and a propensity to the remarks below the belt in the series Short (of Kyan Khojandi and Bruno – Navo – It). And, lo, in the midst of the fall, the comedian, arrives with a comedy-drama. A first long-feature film casting five-star and the story unexpected. His. Finally, their parents, to be more precise. Hibat and Fereshteh who fled Iran in the midst of a revolution, in the late 1970s, when Kheiron was only a toddler. The film then tells the activism of Hibat against the Shah (soberly interpreted by Alexandre Astier in great form), his romance with Ferestheh and all of the adventures that will lead to the departure of the couple up to a new life in a parisian suburb, and a new struggle.

Let’s say straight away, the THREE of US OR NOTHING is very successful. Intelligent, subtle, and often moving, the film is a hit. Whether it be moments, “tire-tears” quite well-crafted scenes more funny, the THREE of US OR NOTHING goes from laugh to emotion with an eyelash. The reason : a host of actors are excellent in all registers. Start by Gérard Darmon and Zabou Breitman, the parents of Fereshteh on the screen (Leïla Bekhti, very good, also), at home in comedy, especially in this scene sold in the trailer where Darmon takes an accent ridiculous, and just as good in the drama. Here, we think of a sequence of telephone conversation silent absolutely cold. The rest of the distribution is of the same ilk. These include, among others, Jonathan Cohen (seen in Hero Corp or Short), very good in the skin of a revolutionary sarcastic imprisoned or even Khereddine Ennasri, one of the revelations of the film. With the chosen actors who “know how to sell valves”, Kheiron has also made sure to find good enough to evoke emotion. In the process, maybe he lost it a little. Because, if his game is far from being unworthy, or even very good at times, Kheiron is sometimes also below it in the role of his father. Not to mention the voice-overs, not always helpful.

His writing, in contrast, obviates fairly well the heaviness. In the balance between the drama and smile, Kheiron screenwriter, is also a little tight-rope walker. With a lot of talent, the THREE of US OR NOTHING , which avoids the pitfalls of gags clumsy or unwelcome, and never disappears in the ease of the breath-holding spells forced. With sharp dialogue and not too many cons, here we laugh willingly and we chiale just because it is beautiful. A little picture of the life made up of joys and sorrows. In its first part, in Iran, everything seems to be just. The scenes in prison, the marriage, the leak… Kheiron distills his story with mastery. Even in the second part, in Île-de-France, he dodge without too much difficulty, the stereotypes of the suburbs and place a discourse on the integration quite well seen with the force of dialogue, mediation and joint effort. In paying tribute to his parents and their devotion to the company (iranian first, then French), Kheiron does them without a doubt, the most beautiful gift that it is through a tale humanist magnificent to the global scope.

The packaging, for its part, does not shine, unfortunately, not by his inventiveness. The frame, the colors, the editing… Everything seems to quite agreed. Just lovely. No more. And it is frustrating. Because the talent is there. It may be unfair, but between his cast, his script and his dialogues Kheiron sets the bar so high that it is surprising to still wait for more. Except that the photo is simply honest, and that the staging is simply the minimum basis of fixed plans mainly populated by characters who talk. We would like more movement, more risk, more break with a film that hums in its shape to the Nakache and Toledano… having said That, in submitting these grievances to the level of a first film of which the author is also a producer and main actor, we say that it is not so bad. Of the first films of this level, clearly, we want more.

“The early films as successful as the three of Us or nothing, clearly, we want more.”

Because in summary, even if the THREE of US OR NOTHING will never renew anything, it does not leave a taste of unfinished business. No, the THREE of US OR NOTHING convinces fully. Perhaps because the history of Hibat and Fereshteh is also true that it is extraordinary. May also be because this story of migrants resonates eerily with current events, and offers useful insights on the issues of leakage and integration. Perhaps, finally, because it’s good for you, in France, of get a feel-good movie not too con on the screens.


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