Sacha Keller is only interested in one night stands with 20-somethings and has a phobia of children. That is until he meets Charlotte, the divorced mother-of-three and ex-wife of one his employer's powerful clients.
Lambert is an addict. A sex addict. It once cost him his pilot job, but he's now trying to work it out through a support group and a new career as couples therapist. Judith has no problem. ... See full summary »
Un soir, une femme se rend dans un commissariat pour confesser le meurtre de son mari violent, commis il y a plusieurs années. Seulement plus la policière de permanence interroge cette ... See full synopsis »
In order to save the man she loves from jail, Mathilde takes his place by helping his break-out. While she exclusively relies on him to survive in this prison setting, Mathilde has not ... See full summary »
When Lola's boyfriend is unfaithful to her on his summer holiday, she dumps him and flirts with his best friend as punishment. But as their class prepares to leave on an excursion to London, the relationship heats up.
Muriel is beautiful, free-spirited and bed-ridden since a horrific accident. Leo is a drunk middle-aged ex-boxer. Desperate for work and unqualified, he interviews for Muriel, who hires him... See full summary »
Margarita Rosa de Francisco
Two years after the first "Boum", Vic - now 15 and a half years old - has a very calm love life, actually no boyfriend at all. Her parents are happily together again, Grandma Poupette ... See full summary »
Sacha loves his friends, his piano and partying. At night, he plays in a jazz club and seduces pretty girls. He lives for the moment, looking for pleasure. No alarm clock, no engagement, no taxes. Charlotte has three kids, two ex-husbands and a thriving professional life. She has no room for a love story. They have nothing in common. They shouldn't be together... They're made for one another.Written by
Both Sacha and Charlotte's apartments were actually built in a studio. Director James Huth claims that this was to give the film some glamor and make it look like an American comedy from the fifties, having been inspired by directors such as Billy Wilder, Frank Capra and George Cukor. See more »
Gad Elmaleh's auto promo vehicle, not for Sophie Marceau fans
This film is only for those who are entertained by "comedian" Gad Elmaleh. He takes up most of the time. Sophie only appears once in a while (another good pay-check for her, though). Gad's type of slapstick humor is really unbearable: the frenetic piano playing, the continuous narcissistic showmanship, the tired old battle of the sexes quips, and his buddies and their clique-y in-crowd--jokes - that must be witnessed by all else around them, because really the joke is on every one else, for paying even a smidgen of attention to these unpleasant creatures. Who wouldn't wanna be part of this social circle, right? Not!
Decor wise it's all a big chaos as well. The only places of relief are the outside Paris exteriors.
Moreover this film is pure propaganda for everything that's wrong with France these days. Absolute conformism to hierarchic capitalism is portrayed as completely normal (even desirable); proposing a further degeneration of the three basic principles of French culture: liberty, fraternity, and equality. The characters think nothing of it, that they have to subject themselves to humiliation and maltreatment from "powerful" people (for example the ape like record company director barking at Gad through Skype - like an African despot). To an immigrant like, Elmaleh, this role reversal might be hilarious, but the native French people are fed up with this degeneracy. Me and my buddies wil bring your once civilised country down, and I'm gonna rub your faces in it. That is the main purpose of the film, I got it loud and clear, from picking up on all the subliminal messages mockingly thrust in my face as "comedy."
This product is reprehensible on all levels.
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