Un moment d'égarement

One of the best French movies I watched this summer.

Had to do it in chunks, though: the emotions were so overwhelming I had to stop my player every 15 minutes or so just to catch my breath.

I dunno, probably it's because of my age (about 50, male) that I relate so closely to that story.

Certain scenes and dialogs seem a bit exaggerated but that's French comedy for you. Snobish movie critics can boil their head but I don't regret for a minute that I spent well over two hours watching it; will recommend it to all my buddies.

On a side note: After seeing the movie, it would be probably a good idea to read the interview with Vincent Cassel (Paris Match #3449, Jun 25 - Jul 01, 2015, pp.9-11) where he talks about his character in that film.

French movies are either so boring and dull or totally opposite: really awesome. This one is really great and kinda feel good movie ( at least for me).

What I liked about the movie... I liked the landscapes and whole background. Really nice nature of the Corsica ( though I believe it was filmed somewhere in the south of France) and colors of the summer. The soundtrack to the movie was surprisingly new - Lean On, Diamonds by Rihanna and many recent hits. The girls are really believable ( well, I guess all they had to do is to be themselves) and Vincent. The other dad was over dramatic and I had a feeling he was trying too hard to act those angry and awkward situations that he becomes cartoonishly silly.

I did not know that the movie is a remake of the 70's movie... I might look for it. The whole summertime feel and carelessness feel remind me of another French movie: The Pool.

All in all, the movie is really watchable and enjoyable. It ends with a girl smiling...and I couldn't help but smile too.

Seven + from me.

The film has a weak start and ends the same. I don't know what was I expecting from that review. It's a silly story, predictable, it was only made with the finality of being liked. Generally, the performances were a mess, even the soundtrack was annoying. Sincerely, I don't recommend this movie, don't waste your time.

If you read a couple of things about this, then you know what direction this is going to. And the whole setup might annoy some people, because it does take its time to introduce the characters, make us aware of who is who and their general relationship with each other. I think it's important to know those things, others may disagree, just know where you are standing with this.

Of course not all decisions by the characters are really good and appropriate. Otherwise we wouldn't have a movie and an issue in itself. The female in question has Lolita qualities and you can see where one would at least have thoughts that might not be in ones own best interest. Things are not always black and white, and people do certain things out of the spark of the moment (or because they were drunk). The ending ... well I'll let you decide what to make of it ...

Greetings again from the darkness. In 1977, French Producer-Writer-Director-Actor Claude Berri directed a film version of his own original screenplay entitled IN A WILD MOMENT. In 1984, director Stanley Donen's (SINGIN' IN THE RAIN) final feature film was an Americanized remake that inexplicably left Mr. Berri as uncredited. Perhaps that's how Berri preferred it, since Donen's BLAME IT ON RIO was atrocious and nearly unwatchable despite a cast that included Michael Caine and a 21 year old Demi Moore. This third iteration, directed by Jean-Francois Richet (who co-wrote the adapted screenplay with Lisa Azuelos) does credit Berri, and returns the material to France where it's a better fit.

Best friends Antoine and Laurent take their teenage daughters Louna and Marie (who are also best friends) on holiday to Antoine's childhood home in the Corsica countryside. The house is a bit rustic and neglected, has spotty (at best) internet, includes a family burial plot, and is miles from town. The only neighbor is an elderly gentleman and his roaming dog. The girls aren't nearly as taken with the serenity as their dads seem to be.

Both dads are loving and protective of their daughters, though the usual teenager-parent squabbles occur regularly. Watching the interactions between the dads and daughters, between the two men, and between the two teenagers is quite entertaining and exceedingly believable. Of course, the core of the story is what happens in one "wild" moment when Laurent is simply being supportive of Antoine's daughter Louna - and her teenage crush of the older man shifts into seduction. A late night naked frolic on the beach crosses the line that should never be crossed. Laurent instantly regrets the action, and Louna falls "in love" like only a teenager can.

The rest of the movie becomes an uneasy dance of lies, threats, insinuations and betrayals. Most of it is handled with a comedic intentions, and that compounds the feelings of queasiness and disgust that we have towards Laurent and his unacceptable and unforgivable (and illegal) actions. We see the two men frazzled for much different reasons. Though he doesn't know the identity of the "older man" who took advantage of his daughter, Antoine is obsessed with tracking him down and making him pay. On the other hand, Laurent is desperate to keep the secret from his friend, and that forces him to play along with Louna's taunting games.

Two of France's biggest stars, Vincent Cassel (MESRINE) and Francois Cluzet (THE INTOUCHABLES, TELL NO ONE) play Laurent and Antoine, respectively, while Lola Le Lann (age 19 during filming) and Alice Isaaz are Louna and Marie. Mr. Cassel and Ms. Isaaz are especially effective - he in a no-win role, and she leaving us wanting even more characterization.

Though it was filmed more than 3 years ago, it's now getting a second life. Original writer Claude Berri is probably best known for his stellar work on JEAN DE FLORETTE and MANON OF THE SPRING, and we can't help but think his script would work better in contemporary times if the comedy turned much darker and made it abundantly clear that Laurent's actions were entirely unacceptable - instead of leaving his response to young Louna's come-on as understandable. The film is produced by Thomas Langmann, the son of Claude Berri, and kicks off with the beautiful and familiar version of "La Mer", a 1946 song by Charles Trenet.