Nice, 1976. Agnès Le Roux, daughter of the owner of the Palais de la Méditerranée, falls in love with a beautiful lawyer ten years his senior Maurice Agnelet. It has other links, she loves ... See full summary »
Paris. 1830. In the heart of the town, Vidocq, a famous detective, disappeared as he fights the Alchemist, an assassin that he has been pursuing for a few months. His young biographer, ... See full summary »
It tells the story of Yann Kermadec whose dreams suddenly come true when he has to replace the DCNS star skipper at the last minute before the start of the Vendée Globe (a round-the-world ... See full summary »
A young woman arrives in Paris where she finds a job as a waitress in bar next on Avenue Montaigne that caters to the surrounding theaters and the wealthy inhabitants of the area. She will meet a pianist, a famous actress and a great art collector, and become acquainted with the "luxurious" world her grandmother has told her about since her childhood.
Cécile De France,
A young trainee chef Sauveur (Guillaume Canet) learns the existence of his father he never knew Bertrand (Jean Yanne). The latter lives thanks to two-bit tricks and swindles. At first hostile to this intrusion, he ends up associating his son and learns him the tricks of the trade until one day Sauveur falls in love with Sandra, a young photograph who is their next victim...
Rémi Waterhouse was Patrice Leconte's scenarist to whom he gave help for his celebrated "Ridicule" (1996) and also the female French André Cayatte, Yannick Bellon: "la Triche" (1984), "les Enfants Du Désordre" (1989) and "l'Affût" (1992). Generally, scenarists don't have the reputation to make worthy films. "Je Règle Le Pas Sur Le Pas Sur Le Pas De Mon Père" seems to illustrate this trend once again. We aren't in uncharted waters for this is the umpteenth version of a young man who discovers he has a father who lives through shady business and wants to know him better. Why bother to watch this common piece of work?
Because this little black comedy would be anonymous without its two central performances. Guillaume Canet and Jean Yanne are here to make the viewer stay until the end where there is an unexpected twist in the amount of the story. Jean Yanne's cynical, disillusioned personality reflects the deliberately dull cinematography Waterhouse used for his film. Even if the film is most of the time banal, there are real efforts from the director to give a stylish, personal work: from the backdrop that depicts these little people in little houses living in the North of France who are so naive to often well found dialogs.
There's nothing new under the sun in this variation father-son but watch it for Yanne and Canet.
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