This effort from Eric Civanyan was basically a play and as it was a big hit, to revive it for the silver screen was nearly inevitable. This helps to fuel the tendency in the landscape of French cinema of the adaptation of popular French plays to the screen.
The principle of the film lies on a classical recipe: a main character in the throes of a stressing situation who has to go through a chain of ill-fated setbacks and the apparition without warning of other protagonists. Here, this group of characters is compelled to stay and act together against Mother Nature's vagaries who caused a flood in the country. Apart from their love-related difficulties and their character struggle, they have to conceal this terrible truth to Marine (Isabelle Gélinas) who is pregnant for it would cause her an emotional shock.
Unfortunately, Civanyan's work is cluttered with glitches. Cues don't always strike right and several portions of dialogs and moments appear badly written. This is still hampered by an hesitating pace. Actors have only little presence on the screen because their characters have only a shallow delineation. Some of them are even wasted like Pascal Elbé with an often hesitant speech. More annoying is Isabelle Gélinas: her naivety is hardly credible.
The result is that the film founders and is bound to sink. Eric Civanyan won't be as lucky six years later with another transposition of a play to the screen: "Il Ne Faut Jurer... De Rien!" (2005), a so-so amount.
The principle of the film lies on a classical recipe: a main character in the throes of a stressing situation who has to go through a chain of ill-fated setbacks and the apparition without warning of other protagonists. Here, this group of characters is compelled to stay and act together against Mother Nature's vagaries who caused a flood in the country. Apart from their love-related difficulties and their character struggle, they have to conceal this terrible truth to Marine (Isabelle Gélinas) who is pregnant for it would cause her an emotional shock.
Unfortunately, Civanyan's work is cluttered with glitches. Cues don't always strike right and several portions of dialogs and moments appear badly written. This is still hampered by an hesitating pace. Actors have only little presence on the screen because their characters have only a shallow delineation. Some of them are even wasted like Pascal Elbé with an often hesitant speech. More annoying is Isabelle Gélinas: her naivety is hardly credible.
The result is that the film founders and is bound to sink. Eric Civanyan won't be as lucky six years later with another transposition of a play to the screen: "Il Ne Faut Jurer... De Rien!" (2005), a so-so amount.
