Lola and her brothers: the charm of life as it is

There are spectacular films. The ultra-romantic, the ambitious, those who deploy themselves to vertigo. There are also intimate films. Those who flirt with the documentary or are carried by a concept bordering on abstraction. And then there are the middle films. Those who are satisfied with“,”text”:”simply”}}”> are satisfied with to tell a story, to offer a slice of common life, almost banal, but whose charm comes precisely from this impression that we can all recognize ourselves in it.

Lola and her brothers, directed by actor Jean-Paul Rouve is certainly one of those in-between films. Like the novels of the one who wrote the screenplay, David Foenkinos, for that matter. The two had previously swum together in the same waters during their previous film, Memories.

The idea is not to impress, to elevate, to transcend, but on the contrary, to make true and real with living materials, such as they are.



Lola and her brothers Photo: AZ Films

There will therefore be sadnesses that are never melodramatic and joys that are never grandiose in Lola and her brothers. Work, heart and family problems, but nothing insurmountable. Small pebbles in the shoes, as all life paths have. And in the middle, there will be Lola, a divorce lawyer who finds love, her big brother Benoît, an optometrist who is getting married for the third time, and Pierre, a demolition expert who is raising his son alone. A sister and two brothers with imperfect relationships, of course, but who love each other. Strong and bad.

Between these three adult characters, the threads stretch and relax with simplicity, naturalness. Cinema is sometimes magical in that it manages to make us believe that even normality can be exciting.

But for that, we have to hold the oars. And in Lola and her brothers, supported by a conventional staging but not without light, it is Ludivine Sagnier, radiant, José Garcia, touching, and Jean-Paul Rouve, endearing, who take care of it. We just have to let ourselves be carried away by this film which, like life, goes from (light) laughter to (subtle) tears, as if not touching it.

The trailer (source: YouTube)


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