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Rock’n’Roll – film review

Summary : Guillaume Canet, 43, is fulfilled in his life, he has everything to be happy. On a set, a pretty 20-year-old actress will stop him dead in his tracks, teaching him that he is not very ” Rock”, which he has never really been, and to finish it off, that he has dropped a lot in the “list” of actors we would like to have sex… His family life with Marion , his son, his country house, his horses, give him an old-fashioned and not really sexy image… Guillaume has understood that there is an urgent need to change everything. And he will go far, very far, under the dumbfounded and helpless gaze of those around him.

Critical : The young man well-under-all-reports that is Guillaume Canet has also become in twenty years one of the sure values ​​of French cinema, endowed with multiple talents. From his first successful film The beachfrom Danny Boyle (2000) to Cezanne and me (2016) via Merry Christmas (2005) and the biographical Jappeloup (2013), his career as an actor is punctuated with successes. With the same happiness, in 2002, he started directing with My idol. In 2006, Do not tell anyone allowed him to win the César for Best Director and in 2010, The little handkerchiefs assures him a real commercial success. In 2013, suddenly disconcerted by the failure of his fourth production, the American thriller Blood Ties, but also marked by the remarks of a journalist who describes him in unflattering terms through which he does not recognize himself, he decides to go green and work on a scenario where the crisis of the quarantine, the anxiety of aging but also the egocentrism of our contemporary world. This is how is born Rock’n’Roll where everyone keeps their real name while playing a fictional role leaving the spectator the pleasure of separating the true from the false.

Copyright Jean Claude LOTHER/Les productions du Trésor/Pathé Productions/M6 Films/Appaloosa Cinéma/Caneto Films

It is through a report, filmed with a handheld camera, that we get to the heart of a shoot with its little schemes and its great delusions. We meet in turn a little considered intern, essentially a coffee attendant, a blundering and clumsy assistant, a contemptuous female star and an actor who, thanks to the privilege of his name, instantly obtains an appointment with a pundit. medicine when he fears that he is suffering from a serious illness. Then, we find Guillaume Canet in his daily life with his parents, his wife Marion Cotillard and their son. A banal life after all (the very one that will lead him to want to reverse his look) even if everyone does not live with a woman speaking all day with a Quebec accent in order to land the leading role of the next film by Xavier Dolan. The scene where Marion Cotillard transforms into Celine Dion is jubilant. Hilarious, Marion Cotillard plays the game of caricature to the fullest, as amazing in madness as in sobriety.

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Copyright Jean Claude LOTHER/Les productions du Trésor/Pathé Productions/M6 Films/Appaloosa Cinéma/Caneto Films

And she’s not the only one. Because Guillaume Canet has invited all his friends: From Gilles Lellouche to Yodélice (Maxime Nucci) or Kev Adams (symbol of obligatory youthism) via our rocker grandpa, the indescribable Johnny Hallyday, amnesiac, alcoholic and liar, parodying himself with a Happiness shared alongside the inseparable Laeticia of a surprising naturalness as a lucid guardian and accomplice of the ex-youth idol. Between reality and fiction, everyone likes to offer us scenes that are often offbeat but always funny and unexpected. By removing all traces of starification, Guillaume Canet strives to make us travel in a universe that he dresses in such disturbing realism that we end up doubting that we are in the presence of a fiction.

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Copyright Jean Claude LOTHER/Les productions du Trésor/Pathé Productions/M6 Films/Appaloosa Cinéma/Caneto Films

Not content to dwell on the vicissitudes inherent in the profession of actor, he takes a satirical look at the dictatorship of appearance and the ambient narcissism that has gradually invaded our societies, which are more interested in selfies than in real communication. . Then adopting a more generalist tone, the story loses its intensity to finally disintegrate into grand-guignolesque excesses that kill the pleasant initial causticity. Despite an end that borders on the ridiculous, Rock’n’Roll is above all an original and grating farce which, under the guise of amusing us with the delusions of an artist under pressure, discreetly questions our fears and our aspirations. It itches and it bothers a little and it feels really good!



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