The portrait
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A music lover and left-wing militarist, the omnipresent actor with a penchant for rough characters is starring in the film “En fanfare”.
A wet-finger survey, carried out among peers, confirms what we strongly suspected: if almost the entire French population claims to know the face of Pierre Lottin, the percentage of affirmative responses drops drastically, from the moment that It's about putting a name on it. “It doesn’t give me any trouble,” places the interested party, probably sincere, at the threshold of the exchange. “Having a job that can already quite easily drive you crazy, I even see it as a way of staying grounded, of saving a little for real life.”
A preliminary observation which, however, undoubtedly deserves to be nuanced, as, from more or less improved figuration in a third or second significant role, the actor begins to see his name written in capital letters on the posters. So, thirteen years after the franchise took off Tuche – a maousse success which, in Wilfried, the well-endowed eldest son of Jean-Paul Rouve, allowed him to store “quite a bit of self-deprecation and money” – was this the case, on screens at the beginning of October, in When autumn comes. A provincial drama by François Ozon in which our man played a guy coming out of prison who was going to get back into trouble without knowing it of his own free will. And do it again this week with
