We often criticize, and rightly so, the demonstrative side of French cinema, not to emphasize that Fario, Lucie Prost's first feature film, stands out for a certain finesse in its description of the rural world, which could equal that of Twenty Gods, if his scenario had a little more substance. The director tries to deal with many subjects at once, including mourning, ecology, coming of age, the difficulties of farmers, among others, but fails to delve into even one of them. alone, due to dispersion, therefore. In this corner of the (bitter) Doubs, as elsewhere, the environment is an essential issue, with its trout river, and treating it with a touch of fantasy was a good idea but which, again, remains unfinished. We must still recognize Lucie Prost's ability to perfectly direct a casting which is not flamboyant but which turns out to be perfectly adapted, with Finnegan Oldfield, always impeccable in ambiguity, in the front line. The female performers: Megan Northam, Olivia Côte and Florence Loiret Caille are not left out, even if we regret, obviously, that their appearances are too brief. Fario is not a completely conclusive first attempt but does hold some promise for the future of its director.
