Actor-auteur Maïwenn bills herself last in the principal cast credits for “,” adding the distinguishing curlicue of an “and” citation when her name eventually pops up on screen. On the one hand, it seems a courtesy to the formidable ensemble of her fifth feature as director, stacked as it is with stars from Fanny Ardant to Louis Garrel to Marine Vacth — all on fine, uninhibited form in a dysfunctional-family drama that frequently demands maximum volume from them.
Fans of Maïwenn’s work will know to expect a film that opens at fever pitch, pinballing chaotically between turbulent farce and teary angst, with minimal niceties of character introduction and narrative build: The opening scenes here feel akin to arriving late to an extended family Christmas dinner, at which you know nobody except the one member who invited you, and has passed out drunk in a corner.
Ugly and aggravating as these scenes of domestic sturm und drang are, they’re also where Maïwenn’s filmmaking thrives: As we saw in her furious cop drama “Polisse,” she has a knack for pushing scenes of verbal conflict to a point of exhilarating hysteria that eventually tumbles into more bruising, visceral violence.
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