The inimitable voice of Fanny Ardant, host of a free antenna and chatting about love gives a pretty false trail to the opening of Perdrix movie: while we might fear that a disciple of Lelouch might serve us a well-worn soup, the successive revelations that will be distilled on the production conditions of the show and the character’s family will create a universe where the unusual is king. We find an atmosphere quite close to the films of Antonin Peretjatko (The Girl of July 14, The Law of the Jungle) with a nonetheless less radical relationship to the absurd. In this village of the Vosges, we will find nudist terrorists, tanks, the Wehrmacht on a spree and a gendarme (Swan Arlaud) summoned to manage all this nice mess.
Perdrix movie critic
The arrival of a young girl having had her car stolen, containing the entirety of her existence recorded in several hundred diaries, will ignite the powder.
The entire exhibition is a real pleasure, since it is a question of giving flesh to offbeat characters who are unable to question themselves for having always marinated in the same environment: like a mother of a family confit in her mourning (and who, too, freezes her existence by writing permanent letters to the deceased husband), of a brother (Nicolas Maury, delicious) more concerned about earthworms than his lonely daughter from the start of his mother, or of a gendarmerie under the influence of a neurasthenia (which does not prohibit the collective therapies of the captain, who did not ask for so much).
The plot of Perdrix movie is obviously sewn with a white thread, and the young fury in search of her past, convinced of her independence with great reinforcements of well-felt clashes will make this small universe burn like a flash in the pan: hearts, vocations, the facts.
After the charm of the initial surprise, a rather seductive love at first sight on Niagara (big as the back of the group Fortnight this year, since it also made the hot nights of Une fille facile …) the convention resumes a little its rights and gives way to a few mechanics of romantic comedy, and the story runs out of steam in favor of a night which at times stifles the liveliness of the beginnings. There remains the pleasure of seeing a cast in tune with a fresh film, quite funny and which, while it does not revolutionize anything about the romantic discourse, allows it to skillfully unwind its twisted and colored threads.
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