a crazy comedy about the depression of a start-upeuse

a crazy comedy about the depression of a start-upeuse
Jeanne (Blanche Gardin) in “Everyone Loves Jeanne”, by Céline Devaux.


Marching towards success, Jeanne’s step is metronomic. Boss of a start-up, this forty-year-old engineer is about to launch her Nausicaa project, which is supposed to clean up the oceans and save the world. The media talk about it, invite it on TV sets, show 3D images of its innovation, describe it as revolutionary… Jeanne (Blanche Gardin) is convinced: like Marie Curie, she is the woman of a century.

On the day of the launch, nothing goes as planned… It’s not easy to keep a fairy tale boat afloat. Its submersible column, devouring waste, disintegrates a few seconds after its launch. In a Pavlovian reflex, Jeanne dives and swims a few strokes towards disaster. The video is making the rounds on social media and YouTube channels. To escape the shame, she leaves for Lisbon and takes advantage of this tragedy to settle another one: put up for sale the apartment of her mother who committed suicide a year earlier.

Hairy ghosts break into Jeanne’s thoughts to make fun of big existential questions

In the vaudeville landscape of French cinema, full to bursting with love and community quarrels, Céline Devaux takes the tangent by offering a comedy of depression. Cartoon Coming (with two award-winning shorts, The Sunday Meal and big heartbreak), the director injects into her first feature film in live action, selected for the Semaine de la critique in Cannes, short sketched sequences which describe in small onions the neurotic tension of Jeanne, determined to avoid any notorious progress for her. out of his state.

Read also: Article reserved for our subscribers Cannes 2022: in “Everyone loves Jeanne”, the irresistible duo Blanche Gardin-Laurent Lafitte

Hairy ghosts break into her thoughts to make fun of the big existential questions in women’s magazines that haunt her: how to boost her self-esteem, be a good person and stop self-sabotage… The disconnect between these cruel and rude little beings who jiggle showing their buttocks and Jeanne’s apparent stoicism proves to be an inexhaustible source of humor. The slightly sadistic choice of the director to lend her cheeky voice to these turbulent Jiminy Cricket increases tenfold the heroine’s nightmare and our pleasure with it.

Cinematic art of the duo

Another asset is to be credited to the film: the fortuitous meeting with Jean (Laurent Lafitte), a former classmate, revives with a sparkling faith the cinematographic art of the duo, here therefore that of a defeated careerist and a carefree crank with a grenadine heart and pin-up glasses. From the outset, Jeanne hates his nonchalance, his levity, his spontaneity which only reinforce, in comparison, his morose defeat. Jean, he appreciates it in his own way: “I always thought you were going to die young so I’m very glad to see you’re alive.” » He speaks his mind, lies good-naturedly, doesn’t want to work, does otherwise, steals things from stores, steals scooters off the sidewalk, enjoys the best times, refuses heartbreak. He is also the only man on earth to have heard little or nothing about Jeanne’s enormous failure, offering her the possibility of becoming anyone on the more restful path of anonymity.

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