Critique Les Cyclades

Review The Cyclades: the island of women

The Cyclades sees Marc Fitoussi return to colorful female comedy, surely what he knows how to do best.

The Cyclades thus follows the unequal Appearanceswhere Marc Fitoussi played Claude Chabrol in a drama about the bourgeoisie as cold as expected. But the director never turned out to be as good as when he sketched portraits of colorful women in comedies as light as they were successful, from Pauline detective, Copacabana at The Ritournelle. For The CycladesMarc Fitoussi thus had this desire for a female buddy movie, a genre typically inhabited by duos of actors whose examples for the other sex turn out to be much thinner. And in view of the total success, as refreshing as it is removed The Cycladeswe cannot deprive the director of his ambition, allowing him in passing to sign one of his best films.

Top-Girlfriends

Blandine (Olivia Côte) never recovered from her separation. Two years of depression and loneliness, and now her son decides to reconnect her with her childhood best friend, the radiant Magalie (Laure Calamy) so that they can realize their teenage dream together: going to Greece, on the island where was filmed The big Blue. The Cyclades is thus not just a simplistic holiday comedy where two diametrically opposed characters will confront their points of view, but turns out to be a great and beautiful feminine adventure, where the characters are never what they claim to be. . Marc Fitoussi thus reads all his female iterations to deliver a sort of synthesis of the best of his cinema, inhabited by the dazzling performances of Laure Calamy, Olivia Côte and Kristin Scott-Thomas.

Review The Cyclades
© Jerome Prebois, Memento Distribution

Of light appearance and endowed with a salutary communicative energy, The Cyclades even indulges in the luxury of restoring a typically masculine genre, with the detour of words, lines and attitudes specific to the buddy-movie, here brilliantly given to female characters. Often confined to drama and the characters of mothers at the end of their rope, here a saving wind of freedom resonates, as if to better hide the flaws of brilliantly written portraits of women. We laugh a lot, as if to better depict the gray areas of a story much less light than it seems. The Greek sun thus illuminates much darker parts of the story, always brought with a triumphant lightness, which brings to these Cyclades this exhilarating wind of freedom.

The island of women

The Cyclades thus has everything from a beneficial therapy on self-acceptance. Regardless of the bodies, ages, and difficult situations punctuating daily life, Marc Fitoussi’s film highlights a triumphant sorority, recently observed in the very beautiful Annie Anger, still carried by the decidedly formidable Laure Calamy. The actress thus seems to be digging a very interesting furrow since Antoinette in the Cevennes female characters freeing themselves from the masculine to marry the destinies of free, strong and independent women who have chosen never to submit to the rules again. We are thus happy to find a Kristin Scott-Thomas far from cold and tragic roles, while Olivia Côte proves here once again her immense talent.

Review The Cyclades
© Chloe Kritharas, Memento Distribution

The Cyclades thus leaves behind it a contagious, libertarian and beneficial taste of freedom, of a genre brilliantly reinterpreted in the feminine for the best of what comedy and its director know how to offer most successfully. We cannot therefore suggest that, in these ever more gloomy and uncertain times, you go and expose yourself to the sun of the Cycladesand to capture all the communicative energy of a feminine comedy that no longer waits for anyone to assert itself, amaze and excite us. A trip between girlfriends that will leave no one unmoved, whose light will illuminate even the most pessimistic.

The Cyclades was released on January 11, 2023.

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7.5



Radiant

Les Cyclades sees Marc Fitoussi return to what he does best: spirited and colorful female comedy. In addition to signing one of his best feature films, the director even indulges in the luxury of rereading the very masculine genre of the buddy-movie to highlight a comedy as luminous as it is contagiously energetic, carried by a trio of brilliant actresses.

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