From the first minutes of Attachmentit’s the drama. While Sandra (Valeria Bruni Tedeschi) is at home, quiet, the neighbors ring at the door, frightened: they must go to the hospital urgently to give birth, and as they do not know what to do with their little Elliot (Caesar Botti): “You said you could keep it … – I said that, me?” And this is how Sandra finds herself with a kid on her arms, forced to take her to work (she is a bookseller), because the parents have still not returned from the hospital. And for good reason, she died. No doubt taken by emotion, I did not understand if it was the baby or the mother who was dead. But it may be the director, Carine Tardieu, who did it on purpose, for the suspense. When we see Alex (Pio Marmaï) coming back holding the baby in his arms, doubt is no longer allowed. During scenes After heartbreaking scenes, life resumes its rights, a family is reconstituted. The orphan got attached to Sandra, it is reciprocal, and her father also in clamps for her. But Sandra refuses to console the widower in what would look too much like one (in) version of Spanking de Brassens… So there will be no caress in the third blow. Too bad, we would have seen the Pio buttocks, while there, we only see him doing the excellent actor he is, credible in tears, and making the weight in front of the incomparable Valeria in the room of who nobody never entered.
The surprise, the deus ex machina of this good bonding melo, is the arrival of David (Raphaël Quenard) The biological father of Elliot. Yes, Alex is no more Elliot’s father than Sandra is his mother of substitution. This place is claimed by the goddess ex Machina, Emilia (Vimala Pons) to which Alex turned after having taken the rake that we know with Sandra. We believed for a moment that David would be the villain, Raphaël Quenard has the face of employment, but ultimately, he too is a good guy. This is what is missing in the film: a bastard, a real and until the end. Or a slut. No one decides to take on the role in this smart family. I have never seen that.
Paradoxes
With The MohicanFrédéric Farrucci made a real western. The vouchers on one side, the bad guys on the other, and which will pull well the last. I love this film. It happens in Corsica. As a pregeneric, the limits of the beauty of the island are fixed by the close-up of an old Corsica who tells: “These lands, we gave them to the girls, so it was worth nothing.” Everything is said. The cinema can begin, with its paradoxes: it is also cultural backwardness which will have preserved the island of the Monegasque, Nice, Cannois, Tropézien disaster, without forgetting the Grande-Motte.
The subtle and strong Alexis Manenti embodies the role of Joseph Cardelli, hepherd resistant to the coastline of the coast. The landscape is so splendid where he takes his goats that we dream of his cheese. And we give up the hideous fantasy of a house with swimming pool and sea view. Concrete hatred remains abstract as long as we do not show what it spoils, destroyed. Forever.
The Mohican is the name of this last plot of savagery that Joseph Cardelli is bent to defend. Because it is his life. And that of Marc, the veterinarian, interpreted by Marc Memmi, veterinarian in real life, and Corsica, and an excellent actor in his own role: he will save the life of our hero in the run, injured by the brutes, the triggers. The good is the vet, the one that got up early, if I may. Seven years earlier, Farrucci made a documentary on Marc. We can look at it with great profit on youtubehe shows the work of this veterinarian, shepherd in his spare time, a sort of lamented athlete (he misses an ear). It is always edifying to see what was used to feed a fiction. In this case, that explains why this beautiful western stands standing.