In competition
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For the first time in competition, the filmmaker surprises us with a blockbuster inspired by a thwarted love story.
Phew love, it’s cinema. This kind of love that once made us dream, toxic, normative, which indoctrinated us through films, still indoctrinates us, when we project ourselves into life as a couple, passion, marriage and so on. A guilty love – of alienating us, then stealing our freedom. Gilles Lellouche seems to believe very strongly in Love phew but we won’t go after him ideologically: it’s because he loves cinema. That he loves her like crazy. And Love phew, his second feature film as a filmmaker, is less a film about lovers than about cinema lovers. Not those of crazy Love by Rivette nor that of Breton – the film does not refer to it at all, but takes as is the title of the French version of Jackie Loves Johnser OK? by the Irishman Neville Thompson, the novel which served as a framework for Lellouche, Ahmed Hamidi and Audrey Diwan for the screenplay they co-wrote. But the forced lovers who struggle on the fringes of thrillers and other American mafia films, the unreasonable suitors put to the test by their condition of True Romance Or Sailor and Lula, who drag the whole world into their love at first sight until reality bends under the force of their desire. Who make entire films delirious before our eyes, to the rhythm and colors of their passion.
Punches in the mouth
Lellouche’s “eggs” are Jackie and Clotaire, who fall in love in high school, and go