Opiniões dos críticos

Klapisch (When the Cat’s Away, Family Resemblances) is a filmmaker who evinces a special feeling for community connections and family ties. The sentiments, however, outweigh the vision in this film.

Warm without sacrificing integrity, pleasant but not to a fault, “Back to Burgundy” is satisfying rather than earth-shaking. It balances the genuine family bond between the trio with complex, at times difficult, individual scenarios as well as all that oenologic lore.

Mr. Klapisch always has interesting things to say. As for his latest film, I suspect—indeed j’accuse—him of cobbling some well-worn plot elements together just to be able to make a movie about wine, and to shoot it in Burgundy. But that’s a perfectly reasonable, not to mention admirable, thing for a French filmmaker to do.

"Back to Burgundy" has a gentle low-stakes mood (although the actual stakes are often quite high), and the script (also by Klapisch) is episodic in structure. Sometimes this works, sometimes it doesn't.

Klapisch takes great care to situate the characters within their environment, showing them plucking and sampling grapes, harvesting the vines even in rain, pruning the bare branches in winter, and so forth.

But so it goes with Cédric Klapisch’s comfort-food feature, which is primarily a scenic and knowing ode to traditional winemaking. Mr. Klapisch lingers his camera lovingly over shots of grapes being harvested and stomped, all the while employing story mechanics and flashbacks indelicate enough to suggest the churn of a factory juicer.

There doesn’t seem to be a romantic-comedy cliché missing from the bland French domestic Back to Burgundy, a wholly contrived post-adolescent coming-of-age yarn about broody thirtysomething Jean (Pio Marmaï) and his mojo-reviving trip back to his ailing father’s Burgundy vineyard.

Any wine aficionado should see this movie, even if the filmmakers had bungled the family dramatics. But the bonus is the film is terrific in all areas, with a dense screenplay by Klapisch and Santiago Amigorena, and engaging performances by all.

Klapisch correlates wine’s complex arrangement of flavors to the complexity of memory itself, which, it should be said, is the most nuanced of the filmmaker’s wine metaphors.

[T]he episodic storytelling has something of the rambling, well-lubricated quality of a bar-room anecdote. Very watchable, but perhaps lacking in real drama, this is an easy-drinking vintage of a movie that won’t challenge the palate of the audience.

It’s another engaging signature ensemble from the director Cédric Klapisch (the Spanish Apartment trilogy), wherein a pretty cast of up-and-coming, credible French talent tackle bourgeois problems with added global complications.

The characters at one stage debate the merits of a smooth, fruity wine versus something more taut and acidic: it would be tempting to say that Klapisch goes too predictably for the first option, but the problems here are more with structure than taste.