Fifteen years after the pain is still burning

It often criticized French movies be excessively inward-looking and truss family comedies without ambition. It is often true, except this week. With "The regret", Cédric Kahn, a little lost from view since the failure of "The aeroplane", signs a beautiful film about the love which is part of the lineage of the Truffaut "The woman next door". For its part, Christophe Honoré, more and more in verve after the success of "The beautiful person", climbs still a walk with "no, my daughter, you did not go dancing", a bittersweet look at the collateral damage from the small family guerrillas.

Mathieu (Yvan Attal) and Maya (Valeria Bruni-Tedeschi), the two protagonists of the "regret", loved. Madly. They they parted. Abruptly. When two former lovers, a little by chance, fifteen years later, the games appear made. Life is passed by there. He is married, architect professional rising, caught in the vortex of Parisian life. She was a child, living in the countryside in a farm located in the middle of nowhere, concubine with a whimsical being (Philippe Katherine), tire of the plans on the comet. When their eyes cross, in this small town in province where Mathieu came to assist his dying mother, they are heavy, intense, responsible for blame. But neither one nor the other, that day, will take the risk of crossing the street. Fifteen years after, the pain is still burning. Desire also, apparently.

In fact, they will crack. A few hours later, Maya calls Mathieu. A few minutes, and they are in the arms of the other. The trouble began. What to do with this passion All map to live crazy love Surrender to whoever is sharing his life When Mathieu is ready for the next step, it is Maya recanting. And if Maya is abandoned, it was Mathieu who absconds. Valses-hésitations, buddies fast in hotels, doors slamming, departures on hats wheel, returns on the same wheel hats, furtive kisses on platforms of railway station, great oaths and small lies, Valeria Bruni-Tedeschi and Yvan Attal play brilliantly this partition of mad love which makes crazy.

Chiara, masterly

Crazy love, Lena (Chiara Mastroianni), central figure of "no, my daughter, you did not go dancing", the may be known; she forgot. Mother of two children, divorced of Nigel (Jean-Marc Barr), she left for Brittany holiday hoped peaceful in the company of his parents and his sister, Frédérique (Marina Foïs). Unfortunately, with a sense of the coup de theatre, a pinch of sadism and a dash of perversity, Annie (Marie-Christine Barrault), the mother of Lena, found nothing better for corser vacations for his daughter than to invite Nigel, her ex-husband, without of course, prevent in the vain hope of reconciliation. Discovering the conspiracy when it is too late, Lena fired up a cable while his parents fly, carefree, for a journey of the third age in Rome, left them to fend for themselves only. Frédérique, in turn, pregnant to the teeth, is even more difficult to bear her pregnancy that she is facing a vast enterprise of psychological destruction on the part of his companion, Thibault (Marcial Di Fonzo Bo).

Inspired by "The mother hunt weekend", the beautiful novel of Geneviève Breisach, Christophe Honoré offers to Chiara Mastroianni the best role of her career. Between fatigue and determination, it is she who conveys to "no, my daughter, you did not go dancing" his energy and his pace. Is going to move the lines of a life she would evacuate all conformism, Lena takes all the risks - it will also pay the price. In this film where elusive or cruel, males do not have the beautiful role, the mother-girls trio leads the ball with spirited. Without fear of reverse the tables.