Tumultuous relationships are invariably ripe for cinematic storytelling, no matter how distressing or awkward it gets. Given a strong cast and a good script it doesn't matter how many such films we get such titles, a new variation has a strong chance of standing tall on its own feet. Make no mistake, director Maïwenn and co-writer Étienne Comar have concocted a fierce narrative with characters, scene writing, and dialogue that are altogether jolting. Frankly 'Mon roi' is just plain hard to watch at many points as Georgio shows the extent of his self-absorbed neglect, abuse, and manipulation, and Tony struggles and increasingly falls apart in his wake. The dynamics between them are excruciating in their push and pull, in one moment raptly in love and in the next violently imploding. I can only commend Maïwenn for excellent, well-rounded direction that carefully balances the wild swings in mood, accentuating the volatility from start to finish with a smoothness that makes the softer moments all the more gentle, and the harshness deceptively easier to swallow and all the more dangerous for the fact of it. Even those present-day scenes of Tony participating in physical rehab are woven in with gratifying naturalness, a fine touch that too many other pictures lack. Truly, the filmmaker and Comar are to be congratulated for shaping the movie as we see it.
Of course the writing and direction are only parts of a whole, however, and 'Mon roi' couldn't possibly be the taut, absorbing drama that it is without an able cast. By all means, everyone involved is terrific down to the smallest supporting parts, and Louis Garrel specifically stands out as Tony's brother Solal. There can be no doubt, though, that Vincent Cassel and Emmanuelle Bercot are the stars, and they give utterly exceptional performances proving the breadth and depth of their skills. Cassel and Bercot inhabit Georgio and Tony so believably, and with such completeness, that I have to imagine Maïwenn's task as director was made considerably easier on the one hand, and on the other, that every day of filming was physically and emotionally exhausting. Every word of love and every fight come across with such electric vibrancy that it's easy to forget it's all for pretend in a fictional tale. As a viewer I'm more familiar with Cassel than Bercot, yet the strength of their acting here alone would be and is more than enough to convince me to check out more works from both of them.
Yes, the feature is well made in every other regard. The production design is splendid, and Claire Mathon's rather personal and intimate cinematography lets us feel like we're right there in the room where it happened. Stephen Warbeck's rich score lends welcome weight to any given scene, even as it largely sticks to the background. The costume design, hair, and makeup are swell. 'Mon roi' is solid all around. I don't think there's any questioning, however, that Maïwenn's direction, her screenplay with Comar, and Cassel and Bercot's performances constitute the thrumming, pulsing heart of the title. It's not even that there's any singular stroke of brilliance across these two hours, but the entirety is so captivating in its dread energy that the result is altogether exquisite. I think content warnings may be warranted for trauma given the nature of some of the material (and, okay, no small amount of nudity, and intimations of suicide or drug use), yet setting these aside I'd have no qualms recommending this to just about anyone. Whether one is a major fan of someone involved or just seeking out a good drama, 'Mon roi' is a superb film that deserves much more recognition.
Of course the writing and direction are only parts of a whole, however, and 'Mon roi' couldn't possibly be the taut, absorbing drama that it is without an able cast. By all means, everyone involved is terrific down to the smallest supporting parts, and Louis Garrel specifically stands out as Tony's brother Solal. There can be no doubt, though, that Vincent Cassel and Emmanuelle Bercot are the stars, and they give utterly exceptional performances proving the breadth and depth of their skills. Cassel and Bercot inhabit Georgio and Tony so believably, and with such completeness, that I have to imagine Maïwenn's task as director was made considerably easier on the one hand, and on the other, that every day of filming was physically and emotionally exhausting. Every word of love and every fight come across with such electric vibrancy that it's easy to forget it's all for pretend in a fictional tale. As a viewer I'm more familiar with Cassel than Bercot, yet the strength of their acting here alone would be and is more than enough to convince me to check out more works from both of them.
Yes, the feature is well made in every other regard. The production design is splendid, and Claire Mathon's rather personal and intimate cinematography lets us feel like we're right there in the room where it happened. Stephen Warbeck's rich score lends welcome weight to any given scene, even as it largely sticks to the background. The costume design, hair, and makeup are swell. 'Mon roi' is solid all around. I don't think there's any questioning, however, that Maïwenn's direction, her screenplay with Comar, and Cassel and Bercot's performances constitute the thrumming, pulsing heart of the title. It's not even that there's any singular stroke of brilliance across these two hours, but the entirety is so captivating in its dread energy that the result is altogether exquisite. I think content warnings may be warranted for trauma given the nature of some of the material (and, okay, no small amount of nudity, and intimations of suicide or drug use), yet setting these aside I'd have no qualms recommending this to just about anyone. Whether one is a major fan of someone involved or just seeking out a good drama, 'Mon roi' is a superb film that deserves much more recognition.