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6 Days (2017)
Nice historic thriller
Reconstruction of the hostage-taking and attempted attack on the Iranian embassy in London in 1980. It's a historical film, then, recreating the event, told by Toa Fraser from the point of view of the negotiator, the police and the special forces who prepare and train to intervene, either in the embassy, on the bus carrying the hostages or to land by air. That's one of the interesting things about this film: it shows us the thoughts and strategies of the police and the negotiator, who interact with the politicians, as well as the negotiator's interactions with the storm troopers, and finally the training of the intervention forces, who prepare in real time according to how the hostage situation develops and, above all, how the environment of the terrorists and hostages is supposed to evolve.
It's no slight on the film to say that its strength lies in showing the other side of the intervention force, which spends all its time getting ready, and then, on orders, doesn't intervene because something has happened to change the plans.
All in all, the film shows us how the negotiator constantly tries to appeal to their common sense and finally how he manages to create a link with the person in charge of the hostage takers, whom he manages to control. A decent film, then, without brilliance, but one that keeps you on the edge of your seat right to the end.
Last Seen Alive (2022)
Solid and efficient Gerard Butler movie
Good B-movie on a common theme. Gerard Butler brings his wife home to his parents. They are about to separate. They stop at a gas station. She disappears. No one has noticed. The police don't believe him, even suspect him. He looks for her. But he finds himself on the run so he can look for his wife himself. It's been done many times before. This is a good, simple B-movie, where the suspense and our hero have the merit of showing us the landscape and a community of outlaws, i.e. People who live outside the system. Gerard Butler excels in this kind of character, stubborn, resilient, not all white, but persevering. The actor's charisma does the rest, and the viewer, very empathetic with him, follows this with concentration. The film is about the turpitude of our main character, not about piling on action sequences, chases or shoot-outs. It's a fine piece of series work that celebrates Gerard Butler's talent.
Destroyer (2018)
Nice piece of work but the pace is a bit slow
I'm a cop on the verge of suicide. I was infiltrated into a gang. I got away with it at the expense of my colleague. I'm having trouble coming to terms with it. And when it seems that the gang's former leader has reappeared, I have only one desire and one fear: to find him.
Karyn Kusuma's story is based on this premise, with an overly mechanical combination of present-day sequences in which Nicole Kidman searches for the gang leader, and flashbacks to her time undercover in the gang. The multitude and interweaving of flashbacks reduces the readability of the story.
Nicole Kidman's performance is particularly noteworthy, as she plays a character who is never seductive, banishing all sensuality from her attitude or clothes. A performance that lacks subtlety in the way it shows the character's decay and down-to-earthness. Nicole Kidman's clenched jaw and decay are overdone.
A curiosity.
Beverly Hills Cop III (1994)
This third opus is less successful even though there are interesting elements
This third in the franchise takes up the Eddy Murphy character in a way already seen in previous films. But here the film takes place mainly in an amusement center, which limits the film's sets and visuals. Screenwriter Steven E. De Souza says this franchise is like an amusement park, so let's set the plot in an amusement park.
Some elements hint at the style of John Landis. But the graft doesn't work too well overall. Perhaps in terms of pacing, since action films are not John Landis' specialty. On the other hand, John Landis knows how to bring slightly offbeat humor to pre-existing genres.
Although it works, and Eddie Murphy puts on a good show, as do the franchise's secondary roles (Judge Reynolds and Bronson Pinchot), we're left a little disappointed. This third opus is less successful.
Expend4bles (2023)
The action sequences are spectacular and fun. The job is done
This fourth installment of the franchise follows in the footsteps of its predecessors. Completely implausible in its plot, action sequences and dramatic stakes. We don't even care about this one. In fact, we'd go so far as to say that there isn't any. What we're looking for is a spectacle, action sequences worthy of a comic book, and humor to make all the murder sequence fun and playful. For all these reasons, this fourth one fits the bill. It's a cartoon, using a lot of CGI porn, whose patina isn't realistic, and so much the better; we sometimes have the impression of watching a painting, animated, a pictorial representation. Scott Waugh, a former stuntman, knows how to bring an action sequence to the fore.
As for the pleasant surprises, Megan Fox is a great idea, as is Levy Tran. Even if they don't have enough scenes. The arrival of Tony Jaa and Iko Uwais too. It brings a little variability. As for Andy Garcia, he does the job, even if his character is transparent and unsurprising.
The action sequences are spectacular and fun. We can only note that they shoot very badly, as they often miss their target, and this in both camps. They're poor professionals.
Sylvester Stallone's idea of passing the baton is a good one: an old man like him is no longer credible.
But all in all, the film lacks something that at least the two previous sequels had. That is, characters with a little more depth or quirkiness, such as Antonio Banderas or Jean-Claude Van Damme or Wesley Snipes.
The Zone of Interest (2023)
An unheard-of experience and richness that shows that cinema can be political and societal, with a narrative basis, while at the same time being an experiment. Well done
Using the pretext of presenting the family life of the head of the Auschwitz concentration camp, Jonathan Glazer tells us about indifference, class relations, the relationship between master and slave, the relationship between the dominant and the dominated, all the while leaving it up to the viewer to grasp what he or she wishes. Of course, all these components have contemporary echoes, and this is the film's strength. By speaking of the past, it speaks of the present. The behaviors shown still exist are still contemporary, and beyond the historical subject and therefore the historical film aspect with re-enactments and research work indicating that all this is very well documented, this is indeed a modern, contemporary film, showing this beginning of the 21st century. The film speaks very well of indifference to others and its consequences, and thus of individualism: Rudolf Höss is an individualist, his wife is an individualist.
Another dimension that makes the film a success is its form. From the impressive work on the soundtrack, the minutes with the black screen at the beginning, the images of the little girl with the apples, to the lushness of the images and the garden that looks like a paradise (as Sandra Huller's character said). Jonahan Glazer has composed an experimental film that is impressive in its form, content and messages. In other words, Jonathan Glazer has made three films in one. The first film is the extremely rich soundtrack, which comes to the fore during the black screen at the start of the film. The second is the one we see, images of these people's everyday lives, and the third is the result of the two, images and sounds.
An unheard-of experience and richness that shows that cinema can be political and societal, with a narrative basis, while at the same time being an experimental film. Well done.
Beverly Hills Cop II (1987)
Same receipe, same ingredient, without sparkle
Eddie Murphy returns to Beverly Hills. We're back with the components we loved in the first franchise: the cultural contrasts, the duo of Judge Reinholds and John Ashton. But also the villains we love to hate, Jürgen Prochnow, Brigitte Nielsen and Dean Stockwell in the roles of the villains: superb casting.
The film is co-written by Eddie Murphy. So he put a lot of himself into it. The same recipe with the same ingredients produces the same result, minus the effect of discovery and surprise. A film that aims to be cool, with no real dramatic stakes, but that's easy to follow. This second franchise works, even if the effect of discovery is gone. Perhaps it just lacks the sparkle and exhilaration of the first.
L'été dernier (2023)
Powerful film with a beautiful portrait of a woman
Catherine Breillat has created a powerful film, in terms of both form and subject. Her mise-en-scene tells the story with very little dialogue. The director gets a lot across and tells the story without resorting to explicit dialogue, using only the mise-en-scène, which is, of course, what cinema is all about: telling the story through the mise-en-scène.
The other strength of the film is its theme and subject matter: a family in which father, mother and children are mutually involved in drama. Note that this is a remake of a 2019 Danish film (Dronningen, by May El-Toukhy).
Léa Drucker carries the film, as it is the story of her character, who evolves, or not, over the course of the story, who is the most exciting, central therefore and is the one in every scene. She appears cold in her professional setting, and evolves throughout the film, as she interacts with her son-in-law, the source of the film's main dramatic arc. She's in control, whoever she's talking to: her husband, her daughters, her sister, her son-in-law. Even if he's going to put her in danger.
The advantage of the film is that, as viewers, we may imagine the story's possible evolution, as well as its possible endings, but the script and Catherine Breillat are capable of making the story evolve or conclude in a way we hadn't imagined.
Yannick (2023)
Quite linear and straight, with as usual a reflexion on film
This is the director's most linear film, if not his clearest. We know that Quentin Dupieux often, if not almost always, talks about film, the work of art, the way it is made, the impression it makes on the viewer. Here, he questions what a work of art is, and the viewer's relationship to it. Raphaël Quenard watches a play of relatively poor quality as a spectator, and decides to modify and rewrite it. By playing a character we understand to be rather depressed, or more simply not well at all.
The staging is simple and limpid, to highlight the dialogues: both those of the play, and those of Raphaël Quenard's character. A great deal of work has gone into this aspect.
So we're not dealing here with a process that might seem absurd, as in many of the director's films. But in a way, it's a film that explains how to approach all Quentin Dupieux's previous films. Isn't Raphaël Quenard's character Quentin Dupieux? Questioning films and what they're supposed to bring to the viewer. He could stop now and we'd understand all his work.
It's surprising to see the police arrive at the end. This anchors the film in a reality to which Quentin Dupieux has not accustomed us. It's a way of making Raphaël Quenard's observation real.
Le daim (2019)
The most straightforward Quentin Dupieux: a film about a film
For once, Quentin Dupieux has composed a linear, predictable story, but with its share of distinctive points. Jean Dujardin's passion and madness for the Daim, which seems to tip over the edge following a breakup (we're told very little, and that's fine). He crosses paths with a camera. He meets Adèle Haenel, who enters his game. To the end of his madness, which is stopped dead in its tracks when the time comes.
Once again, the director questions his work as an artist, his work as a filmmaker, through this poor clueless character who imagines he's filming something, but knows nothing about the process of creating a film. This is not, of course, a metaphor for the director himself, who is a specialist in all aspects of film-making: directing, scripting, shooting, photography, editing, production. But what's interesting about this director is that his subject is the spectacle, the film, the narrative, the drama. Quentin Dupieux only knows how to talk about films. And so much the better. Here, he's talking about the horror film as a genre, and about a horror film, which is being made before our very eyes, even if Quentin Dupieux's music is strongly supportive right from the start of the film, bordering on the ridiculous, but the viewer isn't fooled when the images shot by Jean Dujardin are shown to the audience.
Beverly Hills Cop (1984)
Nice perfume of the 1980s
This is the first film in the franchise that starred Eddy Murphy. A mix of police investigation and comedy, Eddy Murphy's character and his two Beverly Hills police sidekicks (Judge Reinhold and John Ashton) provoke cool distancing and humor. The contrast between Eddy Murphy's Detroit police style and the Beverly Hills police is the driving force behind the script: cultural difference and social engineering. Bronson Pinchot also brings in elements of humor. On the villain side, we have Steven Berkoff, perfect. And it's always nice to see the underrated Lisa Eilbacher again.
The dynamic works, with a limited dose of action sequences, but just the right amount. Because here, it's the characters that count and make the flavor. In fact, the film opens with a chase with multiple crumpled metal sheets, which is rather the final sequence of some films. As if to say, that's it, it's done, now we can get on with the characters and the cultural clashes. Harold Faltermeyer's music is also striking. It contributes to the memorial imprint of the film. A manifesto of the aesthetics and perfumes of the 1980s.
Plagi Breslau (2018)
Original and effective serial-killer film
A fine detective film in its serial killer variant. With a big twist midway through that heightens the tension even more. Set in the city of Breslau, where a depressed policewoman is investigating a series of highly staged murders by a serial killer. Not helped by the local police (of which she is a member), she is aided by a profiler arriving from the capital, who will take the investigation one step further.
The film contains a fair amount of gore, i.e. Bodies sculpted by our serial killer. There are regularly surprising little elements, followed by dramatic twists and turns that keep viewers on their toes, wondering how things will turn out. Add to this the fact that our depressed policewoman is not at all impressed by the murders, and that the profiler turns out to be rather wacky and obsessive. The result is an original take on the serial killer stalker movie. A variant that incorporates social dimensions, a measured use of digital technology, good-natured black humor and unashamed gore. It ends with a final explanation of the resolution of the investigation and the end of a series of murders that are hard to guess and hard to imagine. Well done. We'll be back for more.
Black and Blue (2019)
A nice dark witness hunt movie
A superb witness hunt movie in which police officers corrupted by drug trafficking hunt down a policewoman because she has witnessed something they shouldn't and risks compromising them. To get out, she tries to rely on the local population, then on her fellow cops, and also on gangs who are not inclined to help her at first sight. Noamie Harris is trapped in a labyrinth of survival.
A fine cast, with Naomi Harris and Tyrese Gibson in subtle performances. With effective directing, natural-looking yet very dark sets and reconstructions, and cinematography by Dante Spinotti, who needs no introduction: all this is driven by a screenplay that perfectly manages each of the dramatic arcs and their interweaving, penned by Peter A. Dowling, who knows his stuff. Dowling, who knows his stuff. The dramatic principle is that the viewer wonders how she's going to get out of this situation, knowing that everyone wants her dead, and that the more the story progresses, the greater the obstacles. It's a well-born film, then. The film's great achievement is its dark, nihilistic atmosphere, where the law has almost no place.
It's a fine piece of chase work, with tension constantly rising to a crescendo.
The Professor and the Madman (2019)
Nice effort but empathy is missing
It's the story, inspired by true events, of the creation of Oxford's first dictionary. Mel Gibson's character is in charge of the project. Sean Penn is an inmate of a psychiatric hospital who helps him to compile a collection of words, and both his knowledge of the written word and his madness come in handy. The film interweaves all this with a story of class struggle for Mel Gibson and redemption for Sean Penn. The screenplay is quite skillful in making this story quite captivating. We don't mind that the film is inspired by real events. But the film lacks something to fully engage us, to make us feel concerned.
The acting is unsubtle. The actors believe in their characters. But Sean Penn overdoes it. Mel Gibson is more sober. The technical credits are perfect, it goes without saying: sets, costumes, photography, make-up, everything is top-notch. But we're left wanting more, perhaps for lack of empathy. We have none with Sean Penn's character; we are indifferent to his turpitude. We have a little with Mel Gibson's character. But his character doesn't evolve, stays in the background, doesn't show much proactivity. The fact that it's a true story doesn't guarantee the film's interest.
All in all, it's a curiosity about its main subject, the creation of a first dictionary of the language's words.
Three Thousand Years of Longing (2022)
Timeless movie by a director of his time
Between two installments in the Mad Max franchise, George Miller signs (he is the co-writer) an unclassifiable, timeless film, not only in terms of its subject matter, but also its artistic direction and treatment. We could even say that the film is completely out of step with what's been happening in recent years.
Which ultimately makes it curious, not indispensable, but interesting. On its form, because the film has benefited from the means at its disposal. Its subject is a genius (Idris Elba, solid) who is brought to life by a cultural specialist (Tilda Swinton, moving) who tells him his story. The film's visual richness comes from its many eras, settings and characters. Admittedly, this story of genius seems anachronistic and only mildly exciting. But this film is worth considering, because when an artist like George Miller takes an interest in it and creates it (art direction, direction, screenplay), it's bound to be interesting and have something to offer. We find in it some of his bestiary and his preoccupations.
All in all, the film is about solitude and love. Beneath its mysterious, fantastic trappings lies a portrait of several solitude, who meet and love each other. When you put it like that, you'd almost think you were watching Aki Kaurismäki, but not at all: we're in a highly sophisticated fantasy world.
Titane (2021)
Unique, harsh, sensitive souls abstain, but human, that's the film's strength.
A film about monsters. Where Julia Ducournau succeeds is in linking the different stories together: Agathe Rousselle's peregrinations as a killer, then her escape; her meeting with Vincent Lindon and their life together; then Vincent Lindon's slide into madness (if it wasn't already there), monstrosity or something else.
Julia Ducournau succeeds in her gamble with an enthralling, dazzling ensemble that blends horror with empathy. After showing her monstrous, empathy-less character, her meeting with Vincent Lindon humanizes her, or so little, but manages to make us empathize, first with Vincent Lindon's character, then with her, as she seems to find some semblance of satisfaction in her relationship with this fireman, lost or mad or under chemical influence, who takes her in (for a reason we won't divulge), but who revives the story.
The decision to always show from the point of view of Agathe Rousselle's character is the right one. We never see the police searching for her (apart from the spotlight on the TV screen). We're not interested. And everything suggests that the outcome of the story can only be tragic. But for what?
Julia Ducournau's talent is to have created an unclassifiable, unique film, unprecedented (even by David Cronenberg), a powerful, disturbing work of art brut that doesn't provoke debate (you either love it or hate it), but makes you think. The film's strength lies in the fact that it doesn't explain where the characters come from, and doesn't allow us to guess where they're going. A masterpiece.
The Marsh King's Daughter (2023)
Nice piece of work by Daisy Riley, but very predictive
We're dealing here with a classic story framework where, after an introduction to establish the background, a major event will bring back the past and turn the film into a thriller.
The ingredients for this storyline are a couple and their child who live in the marshes, living off hunting and what nature has to offer. The father is tyrannical and mistreats his wife. But he teaches his daughter the hard way to live and survive in a world of nature. She will leave her family to lead a normal life. But her past, and especially her father, will come back to haunt her, and she'll have to deal with the situation on her own, on the ground, in the swamps.
Good suspense, fine performance by Daisy Ridley, who carries this film on her shoulders. The father, Ben Mendelsohn, is more of a caricature, monolithic and typical, and therefore unsurprising. And the film as a whole is rather predictable and unsurprising, even if it works. We'll note the very successful sequence where Daisy Ridley suspects that her father is loitering in her house or outside: fine work of interpretation and climate, through the work of photography, care and editing to create tension. Neil Burger knows how to handle this subject. We don't know Divergente (2014), but we like The Illusionist (2006) or The Upside (2017), his successful remake of Intouchables (2011), and his Limitless (2011) is said to have good qualities.
Yara (2021)
Dispensable in form, but honest on the subject.
A teenage girl disappears and is found dead after being raped. The investigating prosecutor must confront the prevailing misogyny. The prosecutor is played by Isabella Ragonese. But the investigation also faces the challenge of finding clues. In an age before digital technology and centralized fingerprint files. As a result, finding a culprit from a clue takes a lot of time, a bit of luck and coincidence, persistence and patience.
False leads, an investigation spanning several years, for a detective film in which the investigation progresses in small steps, evolving towards false leads because of the urgent need to find a culprit, but also towards possible leads based on DNA testing and its widespread use. The scriptwriter is a screenwriting veteran: we can say that this is a good story, which captivates the viewer, who wonders whether the killer will be found. The form is that of a Netflix TV movie, in other words, without any ambition. Dispensable in form, but honest on the subject.
Where the Crawdads Sing (2022)
Nice green movie with several flavors
Here's a material made up of multiple riches. Nature and marshes, where a little girl lives and grows up. A body is found, and she's accused because it's a former lover. She also has a love affair. She draws and maps the fauna and flora of the marsh. A swamp crime thriller and an ode to nature, plants and animals are the ingredients of this story. With the right messages about respect and the beauty of nature. And with the elements that make the behavior of this environment rub off on his personality and his relationship with other humans.
In terms of scenery and landscapes, the film is very beautiful. The reconstruction is successful - we're in the 50s and 60s - in the South. The chromos, not of the American dream, but of the little people, are present. The cast is excellent: Daisy Edgar-Jones brings out the strength, vigor and fragility of her character. She eclipses the rest of the cast, who seem bland and a mere foil.
Last but not least, the film contains a revelation at the very end that adds spice to the well-orchestrated and well-conducted preceding story, which otherwise began to seem long (125 minutes long, after all).
Cha wu ci xin (2022)
Effective taiwanese psychokiller hunt
A depressed policewoman (she is on the verge of suicide in the first shot of a film) investigates the murder of a young Thai woman whom she meets by chance. Other disappearances will follow. The bodies are mutilated. Is he a serial killer? She leads the investigation and manages to find out: it concerns a girl in an illegal situation in Taiwan; they arrive from Thailand. But some disappear and are found with missing organs.
Everything often takes place at night and often in the rain, in a dark, depressive atmosphere, very successful. Our investigator is not a superhero, and the Taiwanese police don't seem very efficient either. Janine Chun-Ning Chang carries the film and carries out the investigation with difficulty.
The film is a success in its genre. It maintains the viewer's attention until the culprit is identified and his confrontation with the policewoman.
Anatomie d'une chute (2023)
Very nice and well thought whodunit
This is serious stuff. The story and screenplay are well crafted and written, and the film flows smoothly from Sandra Hüller's story with her husband, told in flashbacks, to her relationship with her lawyer and her relationship with her son, despite its 2.5-hour running time. This is the sign of a film that is dense in its themes, in its dramatic form, and that wins the viewer over. The film deals with the life of a couple, bisexuality, the role of the woman in a couple, or, for example, the fact that it is not the truth that is analyzed in a trial. From the starting point of the film, the father's death, there follows an investigation carried out from the point of view of the mother or other characters, to support the lawyer's argument, and then to follow the trial. This is where the film is interesting: we are not from the point of view of the police or the investigator, but we are from the point of view of the lawyer preparing for the trial.
The fact that the child is blind is the spice of the script and allows for some of its twists and turns. This screenwriter's trick, or not, is perfect for handling the twists and turns of dramatic progression. It's really well written and thought out.
In terms of form, the diegesis is so dense that the cinematography is flat, a little bland, transparent, even televisual. But the film is not about form. The film also contains very little music, and this works very well.
The film also allows itself to maintain a certain mystery concerning Sandra Hüller's character, even at the end of the film.
Astérix & Obélix : Mission Cléopâtre (2002)
Funny moments, but boring moments too
Asterix and Obelix are secondary characters, and the link with the comic strip is tenuous. In fact, they don't feature much on screen at all. The star is more Jamel Debbouze as the architect whom Cleopatra (Monica Bellucci, perfect) orders to build a palace and pyramid to impress Caesar (Alan Chabat in a moronic role).
Jamel Debbouze does his show, and it works. Gérard Darmon is a good villain. Their Bruce Lee-style kung-fu confrontation is very sympathetic. But it's a far cry from Jim Carrey and the Farrelly brothers in Dumb and Dumber (1994).
On the whole, beyond certain scenes and gags taken individually, the film remains sluggish and sorely lacking in dynamism. All the scenes in which Asterix and Obelix appear could be removed, but that wouldn't change anything and would reduce the film's running time.
Chernobyl (2021)
Nice tension moments intricated with personnal sentimental intrigue
This Chernobyl focuses on the firefighters who intervened to extinguish the first fire just after the reactor explosion. To elicit empathy, the script focuses on one of these firefighters, who reunites with his former lover in Chernobyl and realizes that she has a child, of which he is probably the father. This occupies a long, well-acted, sympathetic prologue. Then there are the spectacular sequences linked to the intervention at the nuclear power plant after the explosion. The script focuses on two characters: the fireman, Danila Kozlovskiy, and his fiancée, Oksana Akinshina. The actors are good and the ensemble works, even if the film is slow to get going.
The subject matter is so strong that it's impossible not to be moved by certain sequences. The sequence involving the three firefighters in the water to open the water drain is the film's high point, spectacular and, of course, extremely tense, as they descend into the plant's basement in the dark by the light of their torches. It's well done and builds tension steadily and impressively.
In the end, the 2 hours 16 minutes pass by themselves, even if the plot concerning the couple (our firefighter and his ex) frankly bores us. Especially since the scriptwriters, to ensure empathy, have made the son the first victim of the explosion and radiation, leading to sequences in which the couple want him to be evacuated and treated, knowing that it's not possible to treat or evacuate everyone.
The Whistleblower (2010)
Gripping, stressful, very good diplomatic and political thriller
Rachel Weisz is a policewoman volunteering for a peacekeeping mission in Bosnia. There, she's going to discover illegal things that are going to be difficult to investigate, because corruption is rampant everywhere. Rachel Weisz is a whistle-blower, but one whom no one wants to take seriously. She will have to face her colleagues, the local police, her hierarchy, the various mafias, among others, alone against everyone.
The film also shows the atavisms in Bosnia: misogyny, patriarchy, racism, intercultural hatred. The film is a good dose of all the components. Investigation, corruption, local life, the life of a transnational organization, the law, to whom it applies and impunity.
Rachel Weisz embodies the character with strength and vigor, as she always does. She carries the film on her shoulders.
Cash (2023)
When exploited workers build their capitalism
Superb casting for a film in which warehouse employees embezzle part of the production for their own benefit. The gang is led by Raphael Quenard. They start small, then the team grows. All against a backdrop where the factory is about to be sold. This allows the film to address factory life and organization, between the boss, the human resources manager and the team leader.
The film's first quality is that, although we can more or less guess what's going to happen, the progression is simple and regular, maintaining the viewer's interest, containing just the right amount of ellipsis to produce just the right amount of well-placed surprises. The script manages to blend the two dramatic progressions: Raphaël Quenard's team on the one hand, and the boss's intrigue on the other, both of which are bound to come together.
The voice-over of Raphaël Quenard's character works perfectly well and doesn't detract from the narrative.
Another quality is the superb cast, led by Raphaël Quenard, but also including Agathe Rousselle, Brunot Lochet and Stephan Wojtowicz, for example. All perfect.