Vincent is about to become a father. At a meeting with childhood friends he announces the name for his future son. The scandalous name ignites a discussion which surfaces unpleasant matters from the past of the group.
Alexandre de La Patellière,
In Paris, Ella, a.k.a. Hell, is a promiscuous and reckless teenager with absent upper class parents that does not study or work and spends her time going to night-clubs, using cocaine and ... See full summary »
Bahia Benmahmoud, a free-spirited young woman, has a particular way of seeing political engagement, as she doesn't hesitate to sleep with those who don't agree with her to convert them to her cause - which is a lot of people, as all right-leaning people are concerned. Generally, it works pretty well. Until the day she meets Arthur Martin, a discreet forty-something who doesn't like taking risks. She imagines that with a name like that, he's got to be slightly fascist. But names are deceitful and appearances deceiving... Written by
I don't judge, but forcing ideas through art is nauseating as happens too often with politically correct influencers
What this movie does in excess:
Promotes interracial relationships; Pointless nudity: the leading actress has little dignity; It's way too hyperactive; Pretentious ; Pushes political ideas in you face; Supposes leftwingers are what's good, right wingers are naturally bad
What this movie does well: It is ultimately a well acted picture with some very charismatic lead characters. There's lots of chemistry between the two of them and they manage to make you laugh in a charming but understated way.
Ultimately it uses the power of art as a way of mass manipulation, which was at the core of the fascist practice. That aside, if you choose not to bother with these views it's a good comedy.
The cathartic, somewhat nuancing, last third of the film made me raise its score by 1.
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