Actress, screenwriter and director, Valeria Bruni-Tedeschi comes out to 54 years of age, The Vacationers , a dramatic comedy that takes place in a mansion of the Côte d’azur, and in which it takes again the first role. Way for it to dig a little bit more the groove of fiction, opened with A Castle in Italy , released in 2013. The film divides, precisely the approach taken by the filmmaker to tell this new story to be very inspired of his reality.
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In recounting the summer of this woman just left by her lover for another, and unable to write the screenplay for his next film, the director offers, “in the manner of Woody Allen, a double of cinema, where it exacerbates his neuroses and faults” think Humanity . Complex becomes the task of separating fact from fiction in the work of Valeria Bruni-Tedeschi. A director “who does not lack chutzpah” and “tells the story of his own life in order to better reinvent, parody, or subvert, can you read in Obs . Valeria, named here as Anna, brings together his regret, his anger, his worries and all his loved ones, dead or alive”. Thus, the mother and the adoptive daughter of Valeria Bruni-Tedeschi camped out the roles of the mother and the adoptive daughter of his character. Found at their sides, Yolande Moreau, “wonderful” according to Télérama , as well as Pierre Arditi, and the beautiful Italian Riccardo Scamarcio (.
A choice of casting that gives, or not, the urge to “more informed” are also recognized, among the male figures of the film, Nicolas Sarkozy and Louis Garrel. This leads “naturally”, according to Release , “jubilation and unease”. In his critique, the journal is not seduced by this fragile frontier with the reality and the fiction. Proof that the filmmaker “has stagnated without change in the same neurosis”. First , which has enjoyed the “distribution hors pair” of the film, says: autofiction, Valeria Bruni-Tedeschi “likes to scramble the tracks […]. It’s his signature, she does not renounce”.
A scenario that sinneth
For The new yorker , the fifth feature film from the director could be his “most accomplished”. To Obs , definitely under the charm, we greet the stage of rupture that opens the ball, “as funny” as the ones found in the films of Woody Allen. “Here, Valeria Bruni-Tedeschi is not stingy of large models: it borrows its title from Bitter experience, its atmosphere of Chekhov, and his extravagances in a Fellini movie.” Do not take more. Its staging is “out of the box original and controlled” to see to read , and “will prevail beyond a scenario in which the seams are sometimes to big points,” according to Humanity .
next to the Figaro , it is precisely here that the problem lies in The Vacationers . The scenario of Valeria Bruni-Tedeschi’s “patina” situations “repeat”. The writing of the film is not at the height of its ancient achievements. “The emotion has disappeared, in favor of an irritation invasive,” wrote Eric Neuhoff. When the First applauds the desire to “draw a parallel between the separation the heroine is in the process of living and the daily life of an elite cut off from reality”, Liberation sighs in front of this “sort of making-of of A castle in Italy “. More positive, The World appreciate that “by some miracle, these Vacationers rise above the considerations of worldly, leave far behind their models in order to become a celebration of intimate life and creation”.
In this film that is “not without blemish” ( Humanity ), “a strange feeling of déjà-vu emerges and gives him the appearance of a “letter of apology”, followed by the “feeling that the years have not changed the regard, or the gaze fixed on the crowd of course chewed that shakes” ( Release ).
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For Télérama , in “artificial fog”, which covers The Vacationers , “the real-life fades, the illusion of triumph”. “Comedy politics of a new kind” ( First ) or “soup of feelings” ( The Figaro ), “the film that Anna barely write, Valeria has done,” wrote (Obs) . Remains only the spectators to form their own opinion.