This is the kind of movie which is lauded far beyond its station by chic intellectual TV magazines and it depicts posh "bourgeois (more or less) Bohemes".

Let's accentuate the positive :it's a great pleasure to see Marie - Christine Barrault and Guy Marchand team up again 40 years after "Cousin -Cousine" which was nominated twice for an Oscar at the time!Marchand makes the best of an underwritten part and does not seem to take his role seriously (whereas his character's condition is serious ):the scene where he laughs at the presents he is given is probably the funniest in the whole movie(a stick cane?I can walk!).Barrault transcends the cardboard character of the liberal over-possessive mom ;the only real moving moment belongs to her in the airport cafe ,the actress injecting more emotion in her playing you think it's possible when she talks about her own marriage ("we were clueless,we did not know if we were in love" ).But their lost affair was perhaps the deepest in the whole film ,because it has stood the test of time :Barrault's final scream deeply moves the viewer and explains the first picture of a man in tears.

Bruno Pulutzu gives a restrained effective portrayal of Antoine's partner .Laurent Lafitte ,on the other hand is more intrusive than convincing ;his desire for another man is not fully exploited and could have renewed (in French mainstream) the now trite subject of homosexuality (see how "Mariage Pour Tous" mom rejoices when she thinks that her gay son and his mate are going to get married).Even more intrusive ,and even verging on ham is Agnès Jaoui's Ariel .The actress hogs the stage ;the character is the stereotype of the modern liberated smug woman and the thespian does nothing to rectify it ,she seems incapable of showing these self-assured persons may have a darker side to them.Nicolas Bedos in awe of a girl he considers a goddess is certainly a good moment though.

Some critics call "L'Art De La Fugue" caustic,scathing ;it actually takes no chances,raises no important questions even though it sometimes charms or appeals.The scene when Ariel savors an ice cream while smoking in a public place is revealing : it's the woman who criticizes her who is blamed.These people live in a "feel-good" world ,the present zeitgeist of the French scene.And if they shun any responsibility (that's what the title-the art of running away- means) ,it 's because they know they are part of the privileged classes who do not have any problems to make both ends meet.

French-language cinema, whether in France, Québec, or other Francophone regions, explores cultural identity, social change, and the tension between the individual and society. French cinema is not only celebrated for its intellectual experimentation and auteur traditions, but also its success in mainstream comedy, romance, and commercial entertainment. In Québec, films often focus on questions of language, belonging, and community within a distinct cultural landscape.

Jean-Pierre Léaud in The 400 Blows (1959)

The comedy genre refers to a category of entertainment that aims to amuse and entertain audiences by using humor, wit, and comedic situations. Comedies are created with the primary intention of eliciting laughter and providing lighthearted enjoyment. They encompass a wide range of styles, tones, and themes, appealing to various tastes and audiences.

Will Ferrell, Angela Grillo, and Lap-Gei Cheung in Anchorman: The Legend of Ron Burgundy (2004)

The drama genre is a broad category that features stories portraying human experiences, emotions, conflicts, and relationships in a realistic and emotionally impactful way. Dramas delve into the complexities of human life, often exploring themes of love, loss, morality, societal issues, personal growth, with the aim to evoke an emotional response from the audience by presenting relatable and thought-provoking stories.

Mahershala Ali and Alex R. Hibbert in Moonlight (2016)

The Biggest Movies and TV Coming in September

See which big screen releases you can watch from the comfort of your couch.

Theatrical Releases Coming to Streaming

See who dazzled on the red carpet and took home gold at the 78th Primetime Creative Emmy Awards.

Primetime Creative Arts Emmys: Photos We Love

Jean-Pierre Bacri and Agnès Jaoui in Place Publique (2018)

Anémone, Ramzy Bedia, Laurent Capelluto, Agnès Jaoui, Zinedine Soualem, Claudia Tagbo, Christophe Paou, Michel Leclerc, Nicolas Beaucaire, Vimala Pons, Camélia Jordana, and Mehdi Djaadi in I'm All Yours (2015)

Niels Arestrup and Patrick Bruel in Villa Caprice (2020)

Irène Jacob, Kaori Momoi, Sofía Espinosa, Kristyan Ferrer, Mauricio García Lozano, Paulette Hernandez, and Adriana Llabres in Tales of Mexico (2016)

The Easy Way Out

Videos1

Photos1

Top Cast38

User reviews2

More like this

Related interests

Storyline

Did you know

Top picks

Details

Box office

Tech specs

Contribute to this page

More to explore

Recently viewed