THE “WORLD’S” OPINION – MUST SEE
A singular look than that of Yolande Moreau, whose lucidity strives to recognize the irresistible imperfection of beings, and the sensitivity to extract poetry from it. With a sideways eye, focused on those who almost nothing – paltry eccentricities, sweet madness – is enough to keep them away from the world, the director has her own way of taking us into her world, ours, which she adorns with a delicate melancholy. Humor on edge, sadness not far away, a heart open to everything that is sensitive, Yolande Moreau signs, after When the sea rises… (2004) and Henry (2013), his third feature film, The Poet’s Bride – small illustrated treatise on lies, truth and falsehood.
Treatise that the actress and director examines on a human level through the journey and meeting of several characters. A woman and a handful of men, a troop assembled from odds and ends, walking slowly towards who knows what horizon. In The Poet’s Bride, we tinker, we adapt according to the means at hand, we come to terms with reality, even if it means inventing parts of life to make it more beautiful. Cinema is nothing else. Yolande Moreau makes it her business, showing us that, deep down, everyone creates their own little fiction. Hers is translated into a fantasy in which she takes the leading role. That of Mireille, who returns, after many years of wandering, to the large family home, on one of the banks of the Meuse.
A solid house, dilapidated and dilapidated in certain places, a place somewhat in its image, which keeps a lot of memories warm. Some will rise to the surface, shedding light on the main events of his life: a great disappointed love, a few years in prison… All from the past. She can now return to her home, her gait heavy and fragile. A job awaits her as a waitress in the Beaux-Arts cafeteria in Charleville-Mézières. She doesn’t ask for more, except her salary, which will not be enough to maintain her vast building.
Secrets and lies
It is thus, through the chance of life and its opportunities, that Mireille will cross paths with three lads to whom she will offer to rent a room, just to improve her income. The small community takes its marks, forms itself, shaky and touching, each with its own secret, its lies, its cheating. In this painting stands Bernard (Grégory Gadebois), the town gardener, who, at nightfall, transforms into a woman; Cyril (Thomas Guy), student at the Beaux-Arts and talented forger, who sells his reproductions; Elvis (Esteban), Turkish political refugee posing as an American country singer.
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