Right from the beginning, we easily recognize the agitated, mischievous and disenchanted atmosphere of Quai d'Orsay (2013) (a lot) and L'exercice de l'État (2011) (a little) with an obvious inspiration from the universe of Éric Rohmer.
Paul Théraneau (Fabrice Luchini) is the current mayor of Lyon and in the midst of an existential crisis. He compares himself to a Formula One with an overpowered engine but out of fuel, continuing to move thanks to inertia more than anything else. He fears that his electorate notices it. He recruits in this way Alice Heimann (Anaïs Demoustier), a woman as brilliant as young and whose career is limited to professorship within the prestigious University of Oxford. She is obviously smart but her political and professional inexperience will quickly contrast with the lions' den atmosphere that reigns in the town hall of Lyon and the French Socialist Party.
Beyond the complicity that is very quickly developed between Paul and Alice, the film skillfully mixes politics (Fabrice Luchini), philosophy (Anaïs Demoustier), communication (Antoine Reinartz), tradition (Pascal Rénéric), art (Maud Wyler), friendship (Alexandre Steiger), uselessness (Nora Hamzawi), ... Despite some slight snags, the result is fundamentally successful. I really appreciated the obvious quality of the dialogues and these excellent acting games around Fabrice Luchini.
As a synthesis: 7/8 of 10
Paul Théraneau (Fabrice Luchini) is the current mayor of Lyon and in the midst of an existential crisis. He compares himself to a Formula One with an overpowered engine but out of fuel, continuing to move thanks to inertia more than anything else. He fears that his electorate notices it. He recruits in this way Alice Heimann (Anaïs Demoustier), a woman as brilliant as young and whose career is limited to professorship within the prestigious University of Oxford. She is obviously smart but her political and professional inexperience will quickly contrast with the lions' den atmosphere that reigns in the town hall of Lyon and the French Socialist Party.
Beyond the complicity that is very quickly developed between Paul and Alice, the film skillfully mixes politics (Fabrice Luchini), philosophy (Anaïs Demoustier), communication (Antoine Reinartz), tradition (Pascal Rénéric), art (Maud Wyler), friendship (Alexandre Steiger), uselessness (Nora Hamzawi), ... Despite some slight snags, the result is fundamentally successful. I really appreciated the obvious quality of the dialogues and these excellent acting games around Fabrice Luchini.
As a synthesis: 7/8 of 10