Les émotifs anonymes

A genuine "French-made" romantic comedy, with echoes of "Chocolat" and "Amelie", starring the most suitable performers for movies like these. There's nothing extraordinary in this modern fable, but here lies its authenticity. We just find two normal adults, or maybe abnormal in their pathological timidity, who just try to come to terms with their emotions and to find a way to live and communicate them. Every next step sounds predictable, but we obviously do not look for plot twists, in pictures like these, that we want to progress and end in the exact way this movie progressed and ended, without ever sounding mawkish, and offering truly amusing moments. But the main protagonist is chocolate, with its healing power, we have all experienced, to make us feel better and to melt many emotional blocks. A truly enjoyable, heartwarming and funny picture.

Jean-René Van Den Hugde (nm068814) and Angélique Delange (Isabelle Carré) both suffer from heavy relational difficulties: in public, they quickly lose their intellectual abilities and are unable to express their emotion without feeling a deep discomfort, an uncontrollable anxiety, fainting, ... Their common passion for chocolate will bring them together and Jean-René will hire Angélique who turns out to be a brilliant and creative chocolate maker while Jean-René runs a small chocolate factory on the verge of bankruptcy. They were meant to fall in love!

As a synthesis: an efficient and original love story with two marvelous actors

Jean-Pierre Améris, a good but somewhat overlooked French director, had hitherto specialized in harsh dramas (such as the intriguing 'Les aveux de l'innocent" (1996), in which an ordinary man declares he has committed a crime whereas he is innocent, or the profound "C'est la vie" (2001), a haunting meditation about life and death). For the first time, with "Les émotifs associés" (2010), Améris has opted for a lighter tone, ... without indulging in superficiality for all that. His new effort marks in fact an interesting evolution in Jean-Pierre Améris's way to address his subjects. At ease with the problems of others (his characters), the writer-director has now decided to examine a question that concerns his own self and to do it with optimism.

For if there is a subject that Jean-Pierre Améris knows like the back of his hand it is hyper emotionality. A highly emotional person himself since he was a child, Améris has however been able to give a film crew orders, to guide them and to impose himself on them, a thing an overly timid creature would never dream of ever managing to do. Having now overcome his handicap (at least to some extent as he occasionally still finds it hard to make a decision or deal with strangers), the director has undertaken to share his experience with his audiences and help the victims of hyper emotionality to have a better life.

And what better way to achieve this goal than resorting to the romantic comedy genre? For sure, provided a filmmaker avoids falling into the trap of over-sentimentality, he or she will make an audience susceptible to the attraction of one character to the other and take advantage of this feeling of empathy to instill his message in the complicit viewers. What Jean-Pierre Améris needed first was two amiable spokespersons to pass on his message and, with the help of his co-writer Philippe Blasband, he has given life to an engaging couple, consisting of Jean-René, the owner of a small chocolate factory who has never overcome his mental blocks and has remained single despite his deep love for women, and Angélique, probably the best chocolate maker alive, but who, for exactly the same reasons, has failed to make a name for herself and to find the genial soul. Mission accomplished, as the two characters are well delineated and remarkably interpreted by Benoît Poelvoorde and Isabelle Carré.

This established, all the suspense will lie in the fact that though Angélique and Jean-René share a common passion for chocolate and are drawn to each other, the fear of giving a bad image of themselves and of taking the first step, is a source of misunderstanding and tends to estrange them. Will there be a happy ending? Nothing is less certain...

Through this situation and these two characters, Jean-Pierre Améris describes, with the light touch allowed by comedy, the nightmare experienced by those people who are so scared of life that they miss out on it, preferring the safety of doing nothing over the risks of taking action. And not taking action does not only bring frustration to the people concerned , it is also misleading to others. Deep inside themselves neither is Jean-René this gruff unpleasant boss nor Angélique this slightly retarded little girl. They are much better persons and deserve better. "Les émotifs anonymes" will thus recount Angélique and Jean René's desperate efforts to become a couple on the one hand and to become who they are on the other, describing the various means they use to this end (consulting a behavioral psychologist, doing exercises to try to ACT even if the odds seem impossible, using auto suggestion, trying to touch someone, to invite a person to the restaurant, joining a mutual aid movement such as the "Emotifs Anonymes" (hence the title)...

A useful film for the overly timid, an entertaining and charming one for the more extrovert, "Les émotifs anonymes" is played to perfection by the ever delightful and fresh Isabelle Carré and cast- against-type Benoît Poelvoorde. There is such a chemistry between the two on-screen partners that you never doubt for a single moment that the princess can be infatuated with a bullfrog!

A comedy with a heart, "Les émotifs anonymes" contains several scenes to remember : the disaster dinner at the restaurant, Jean-René singing 'Dark Eyes' to Angélique at the hotel, Jean-René's declaration of love to Angélique during an "Emotifs Anonymes" meeting.

Don't be shy. Go and see it. Your audacity will be rewarded!

Take it as a given, French cinema has a long tradition of romantic comedies, and those are among the best in the genre. The dark side is, at the end of the day, they all look a bit the same.

"Les Émotifs anonymes" makes no exception, and its first layer storyline is nothing new. From the beginning, you know what is going to happen to the main two characters and how it is going to end. Still, it is nice to watch. What is interesting is underneath. Améris uses this pattern as an alibi to tell a whole other story, this one goes much deeper than expected, though the subject is always treated on a very light tone.

The film brings you into the universe of chocolate, this bittersweet treat well known to relieve heartaches, which, this is no coincidence, fits perfectly the characters, over-emotional people. With lightness and subtlety, the film shows the constant struggle of those people to overcome everyday situation, as basic as meeting someone new or shaking a hand. You will love those characters right from the start, understand their sadness and admire their efforts to keep going.

Améris keeps up a rhythm with no time out, making of this film a thrilling comedy, with a few scenes to remember. Poelvoorde delivers a perfect, soulfull performance, showing how he masters the genre and the emotion he gives. Isabelle Carré is to fall for in her role of exaggeratedly shy gifted girl.

ROMANTICS ANONYMOUS (Les émotifs anonymes) is a wonder bit of French fluff that may seem like a little love story on the surface, but has a lot to say about our current state of relationships. Written (with Philippe Blasband) and directed by Jean-Pierre Améris this little film takes advantage of the fine comedic talents of the two stars and brings a supporting cast of of actors to the table who demonstrate how fine cameo roles can be polished.

Angélique Delange (the perky, multitalented Isabelle Carré) cannot cope with relating to people: she is a shy young student in a chocolate class taught by M. Mercier (Claude Aufaure) who rises to the top of her class as a chocolatier winning employment in the finest chocolate business in France when suddenly M. Mercier dies. Angélique is without a job and is terrified of interviewing (she belongs to a group therapy session called Romantics Anonymous where the group shares their flaws in relating to people. She sees and interview slot for a candy business owned by Jean-René Van Den Hugde (Benoît Poelvoorde) - a man who is terrified of women as he works through sessions with his therapist (Stéphan Wojtowicz). Angélique's interview goes well and she is hired on the spot - as a sales rep!

Through a series of trial and error Angélique wins the friendship of the small staff (Lorella Cravotta, Lise Lamétrie, Swann Arlaud, and Pierre Niney) who understand the business is going bankrupt and together they stage a lessons on chocolate making that results is the staff learning all the secrets for the now defunct Mercier Chocolates. Angélique and Jean- René seem to find an attraction to each other but their emotional timidity prevents them from connecting until a big break comes: the business is chosen to attend the chocolate prize competition and in the midst of the trip the two seem to overcome their handicaps. But the future isn't assured until Jean-René attends Angélique's group therapy session, a place where they both must confront their feelings, and from there on the film dashes into a fun French farce.

The film is in French with English subtitles and comes off like an uncorked bottle of fine champagne. It is a fun, light, romantic little takeoff on how so many people must join group therapy just to relate to each other. It bubbles!

Grady Harp