Près des yeux, près du coeur

Probably haunted by the limelight of her star parents or out of boredom or just for fun, Chiara Mastroianni decides to literally become her father until she doesn't want to. She is a little hesitant at the beginning, but then lives into this role and frees herself from other people's expectations of her. She leaves her apartment and her adventure begins. She has a lot of fun, meets old and new people and animals, juggles various languages and it looks like she's enjoying every moment. From what I can see, the whole picture is a beautiful tribute to Mastroianni's life, personality and his acting career. The film is light, though not without a touch of sadness - he is definitely missed by his family. And by us. I believe the actors and the crew had a lot of fun while shooting Marcello Mio. One can feel it from the atmosphere of Paris, and Rome, the singing (we must remember it's an Honoré film!) and the allusions to Mastroianni's films.

Beautiful, light, funny, delicate and personal.

I went in expecting little and ended up enjoying this film more than I anticipated.

The story is funny, self-deprecating, and Chiara is charming, so one can't help but like her on screen. Catherine Deneuve is gorgeous and she has some of the most fun lines in the film.

There were elements in the story, however, that didn't make sense (Chiara's love interest and his so-so backstory) and it ultimately came down to lazy writing. Some plot points were not properly explained, while the audience was to suspend disbelief, which was asking too much.

In truth, the film is for Mastroianni fans, Deneuve fans (myself included), and their history and myth. It will make more sense to those who recognize references made to the Deneuve/Mastroianni history throughout the film, but will be a struggle for others who don't know the history of the power cinema couple. I happened to know quite a bit about both actors, particularly Deneuve, and my knowledge carried me along to the end but I doubt it would feel the same to audiences not in the know.

Whatever u expected - its way wya better and emotionally psihologically comlex ! Chiara is briliant in her comunicating and made u feel her feelings thrue all movie... its sad and comlex emotion she was going thrue. We all have identity chrisis from time to time and existantional chrisis and when u grow up with This big persona who represents her father its from time to time dificult to find yourself... it was very personal for her. Marchello representes so much in so manny lifes and to die and live meaningful is art .

This was beautiful letter from doughter to her father and they did just marvolous job. Catharine is just special.

The concept of Chiara Mastroianni living under the shadows of her father (legendary actor Marcello Mastroianni) and exploring the world with actors playing themselves is a interesting concept to explore about reality, nepotism, Italian culture, and community. There are some strong moments that prove of it's good use, but as a whole, filmmaker Christophe Honore crafted something that's just decent.

Provided with good performances, certain good dialogue and structures, Marcello Mio falls into the category of failed meta commentary narratives because it struggles to understand what the tone, the narrative and style the movie really wants to focus on and becomes a habit of being a bit messy. Nevertheless, there are some good dynamics between the characters playing themselves, including some good humorous approaches, and costumes. However, things could have been better.

Some have seen this as a light-hearted play on the idea of art versus life, while others find it self-indulgent. It certainly is the former, but not the latter. On the contrary, Chiara Mastroiani bravely faces the obvious: her striking resemblance to her father as a cosmic joke denying her identity. Here comes Fabrice Luchini with a quote: "Everything meaningful is inherited" (or something in that line). Did Nietzsche really say that, knowing he's a proponent for the totally independent self? Could such a self really exist or is it an artistic ideal? Not even the icon Catherine Deneuve is effortlessly brilliant; on the contrary, she is forced to confront the trauma of sharing a life with this elusive character, Marcello. This is perhaps what makes a great actor: the earthy, solid presence. Deneuve is charmant. Luchini comes up with another familiar musing: isn't what makes an actor great the ability to disappear? "Identity is nothing." But Stefania Sandrelli, with that overwhelming warmth and compassion of hers, advises Chiara to not run away from herself; to stop "putting life on hold", as Chiara herself says she has done. She feels safer as her father, while Melvil Poupaud violates the mask. Nicole Garcia, on the other hand, violates Chiara's identity at the very onset of the film/quest. Garcia has done an outstanding job directing a film on the lack of identity, L'Adversaire. I'm not too familiar with Luchini's work, but he's obviously legendary. Poupaud does portrayals of violent lovers... I'm sure the references are endless and the film would speak ever deeper to those in the know, and upon the rewatching it invites.

One could muse indefinitely, and that movement is the film's forte. It is subtle, light and amusing. Like Marcello. Conveying it effortlessly, Chiara evokes the depth and darkness which might be her own... or inherited.