Mon Roi’s melodrama glossiness grates more than it convinces.
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Maïwenn fashions a bracing film about co-dependency, capturing the erotic contours of subservience and flattery.
Wears its heart a little too much on its sleeve. But it also manages to pack a punch, and the lead performances from Bercot and Cassel are strong.
Maïwenn's evidently tight control over her performances once again shows its strength within the context of individual scenes, where the characters' attitudes often convincingly shift from blithe to furious in a matter of minutes. But the overall arc of their developing relationship fails to convince.
Maïwenn makes no apologies for liking her characters and being invested in their problems, even though in the scheme of things, they could well seem insignificant. And Cassel and Bercot reward her faith with a believable portrayal of a couple who are either the best or the worst things to ever have happened to each other, and very probably both.
The director, her co-screenwriter Etienne Comar and the exceptional cast led by Emmanuelle Bercot and Vincent Cassel have an acute enough eye for the manners and mores of these archetypes to make the material feel consistently fresh and alive.
Mon Roi is one of the best films of the year and an impressively realistic depiction of the highs and lows of love.
Mon Roi, directed and co-written by Maïwenn (that is, film-maker and actor Maïwenn Le Besco) is an unendurable confection of complacent and self-admiring nonsense: shallow, narcissistic, histrionic and fake.
French actress-turned-helmer Maiwenn is concerned first and foremost with her characters, who rank among the most vividly realized of any to have graced the screen in recent memory.
This is an energised romantic drama overflowing with humour and passion.