The film borrows its central plot from the novel En Finir Avec Eddy Bellegueule by Edouard Louis, following a young boy who struggles with the discovery of his sexuality through his childhood and teenage years. However, the film takes the story a little further.
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Anne FONTAINE aime les sujets sexuellement provocants et sait les traiter avec le ton juste, loin des clichés des films commerciaux (Pédale Douce, Gazon Maudit). === Anne FONTAINE loves sexually provocative subjects and knows how to treat them with the right tone, far from clichés of commercial films.
Digital. The family is sweetened, without the hate that emphasized it, the protagonist is an actor who applies dramaturgically his past in a suitably psychologist version and Eddy Belleguele is turned into just a little stimulating "gay", surrounded by "beaux esprits" when adult. "I had no choice but to flee. This book is an attempt to understand", wrote Edouard Louis. The film don't and does what doesn't understand.
Isabelle Huppert in a play. Isabelle Huppert dancing to Stromae. Those were probably the worth parts of this piece. I mean... the adaptation of this book could do wonders for the story, the plot. Instead of it, it just goes around common places and cheap melancholy scenes.
You can adapte a book, without being faithful to then (plenty of magnificent films came from bad books and the opposite as well). But in this case, Anne Fontaine not even understood the most important, the importance of kill that name and became a new self. She took the easy option and decide to made him an actor. All the violence, all the need for erase that past and that name became an empty reference.
6.3/10, “Although Fontaine’s work is, as one might suspect, high on Gallic sophistication quotient, cunningly insinuating the hypocrisy of a peckerwood family after portraying its existence as a hellhole is just too mean-spirited to meet substantive pats on its back.”
my full review - https://wp.me/p1eXom-3Fd