6.8/10
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À perdre la raison (2012)

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1:57 | Trailer
Like millions of other couples, Mounir and Murielle fall in love. Like millions of other couples, Mounir and Murielle have children. But unlike them, they accept to give up their autonomy ... See full summary »

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(scenario), (scenario) | 1 more credit »
8 wins & 11 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
Claire Bodson ...
La femme policier hopital
...
...
Jean-Charles Hautera ...
Professeur Maryns
...
Françoise
Daniel Feis ...
Le pianiste
Baya Belal ...
Rachida
Mounia Raoui ...
Fatima
Redouane Behache ...
Samir
Joé Michels ...
Jade (nouveau-né)
Eléa Gillard ...
Jade (3 mois)
Charlie Hoscheck ...
Jade (3 mois)
Lisa Murcia ...
Jade (1 an 1 / 2)
Gabin Lard ...
Sohane (nouveau-né)
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Storyline

Like millions of other couples, Mounir and Murielle fall in love. Like millions of other couples, Mounir and Murielle have children. But unlike them, they accept to give up their autonomy by agreeing to live with Mounir's well off adoptive father, Doctor André Pinget. On the material level, all is well. But a house is not a home, and Murielle feels more and more stifled... Written by Guy Bellinger

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Drama

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Release Date:

30 May 2012 (Belgium)  »

Also Known As:

Our Children  »

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2.35 : 1
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Did You Know?

Trivia

The official entry of Belgium to the Best Foreign Language Film at the 85th Academy Awards 2013. See more »

Connections

References Ratatouille (2007) See more »

Soundtracks

Ils s'aiment
Written and performed by Daniel Lavoie
From album "Tension Attention", 1984)
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User Reviews

 
A subtle portrait of abuse
7 January 2017 | by (Saffron Walden, UK) – See all my reviews

Depression is a terrible thing. The opening scene of 'My Children' tells us that an awful thing has happened, and the rest of the movie provides the background to the tragedy. It's a slow-paced film, and for much of its length, it feels too slow-paced for its own plot: it's not easy to see how the status quo is going to descend into tragedy within the allotted time. In the event, the end is sudden and not directly provoked: the cause is rather internal, the final snapping of its protagonist amid inner despair. Nonetheless, depression can be induced by real-world causes, and the film is actually, aside from its dramatic conclusion, an intriguing study of a subtly abusive relationship between an elderly doctor who in effect adopted a Moroccan family. In return for his generosity, he sought control, more control than any one person should have over the lives of others. Director Joachim Lafosse strangely shoots many scenes through out-of-focus doorways, a stylistic tic that I didn't quite understand; but this a powerful study nonetheless, a disturbing portrait of a family life that is superficially idyllic, but somehow not right nonetheless


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