MY INSEPARABLE – WHY NOT
The visibility of minorities in cinema should logically end up including the issue of people with disabilities. The subject was never taboo – you just have to go back to FreaksTod Browning's 1932 masterpiece, to demonstrate. The colossal success achieved since May by A little something extra d'Artus has the merit of having put, with its ten million spectators in France, the question on the table in a way that is at once central, uninhibited and pleasant. Several other comedies have since followed one another on the subject – since Golo and Ritchie by Ahmed Hamidi and Martin Fougerol until In a flip-flop at the foot of the Himalayas from John Wax, via Fêlés by Christophe Duthuron – giving the impression of a sudden awareness.
The arrival on this ground of My inseparableAnne-Laure Bailly's first feature film, a priori presents a double originality with regard to the films mentioned. The first is its subject, which crystallizes around the desire of a disabled character to leave the family home to start his own family. The second is its genre, more of a drama than a comedy, in other words the acceptance of a frontality that comic mechanisms usually allow, if not to circumvent, at least to water down.
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