Pierre is the CEO of a large family group of wines and alcohol with an international dimension.
But to sign the contract of the century, he needs the signature of his cousin Adrien, who owns 50% of his company.
Problem, it is unmanageable and seems to determine to spend more time with Pierre.
A more than eventful business trip follows.
“
A funny film more than a funny film
” remarks Étienne Sorin for
Le Figaro
.
According to him, “
the oddity of the object is also due to the filmmaker Jan Kounen
” who likes sequence shots and spectacular camera movements.
Without convincing,
Mon Cousin
manages to move away from its competitors thanks to its duo of actors including a Vincent Lindon with an "
interesting
"
role
.
Read also:
My cousin
: unidentified hovering comedy
"
The tandem works wonderfully
," rejoices Corinne Renou-Nativel in
La Croix
.
The journalist particularly relies on the performance of François Damiens, "
deliciously lunar
".
Mon Cousin
manages to surpass comedy in order to adopt "
a certain melancholy which suffuses the relationships between the characters never monolithic.
The photography is superb, with particular care given to the light.
"
Less impressed by the technique, Christophe Caron of
La Voix du Nord
regrets “
superfluous neck effects
” and a final which “
is not up to the task
”.
Yet humor worked for the journalist, “
without the search for the gag turning into obsession.
The duo makes sparks ”
, and is enhanced by“
a kind of sweet madness in the game of François Damiens
”.
To read also:
My cousin
,
Kajillionaire
,
Billie
... The films to see or avoid this week
In
Le Journal du Dimanche
, the Belgian actor delights the critics in a role “
all in poetic ambiguity.
The scenario favors emotion over stacking gags, sometimes at the risk of losing rhythm and efficiency.
But
Mon Cousin
manages to be "
touching by exploring the inner springs and childhood wounds of his heroes
."
The same goes for Pierre Lunn in
Première
, who despite a “
sometimes messy and forced
”
ensemble
, this comedy “
surreptitiously
finds
the director's punk craziness
” when it assumes itself.
An observation shared by Catherine Balle.
The journalist from the
Parisian
does not adhere to the film when it "
calls in a rather clumsy way to burlesque and surrealism
".
But when
Mon Cousin
"
summons the good old vein of 'con' or 'ball', it turns out to be much more successful
".
As for the actors, Vincent Lindon turns out to be "
excellent
" in his role as a reasonable and opportunistic boss, "we are having
a good time.
"