One of the most powerful platforms today, Amazon regularly hosts French comedies. I don’t want you to be the latest either. After a series of frankly failed acquisitions, even in light of the not always high production standards of cute French products, is the first feature film led by Inès Reg straightened out?
The experience of pain remains an apprenticeship in itself, as it is clear that each one accepts it for himself, cursed to merge it with his past, his trauma. Who, the soldier who was amputated alive in the morning, or the assistant officer of happiness cut the little finger off the most with an A4 sheet of paper, the socket? It’s hard to decide. Fortunately, thanks to Amazon Prime Video and more specifically Je t’aime moi non plus, it became possible to map suffering, and possibly to define standard meters, destined to become universal references.
What’s more, it’s the only achievement of this romantic comedy, which was largely inspired by the love lives of the two actors and writers with him, Inès Reg and Kévin Debonne. Even if it means telling a somewhat expected and conventional love story, it might as well be based on real links, both to facilitate audience identification and to preserve a bit of authenticity, in an often over-formatted production.
Unfortunately, the staging of Rodolphe Lauga doesn’t even ensure a minimum of unity when it comes to eye safety. We’ll soon deliver a visual invoice, so shining in his absence, it’s as if the project is constantly trying to never destroy an idea, especially not to propose dramaturgy. Ugly and destitute, the pictures parade, while the group, knowingly meant to avert their eyes on the screen is mediocre, not even having the decency to respect the retina of its viewer.
Therefore, nightmares can only be total. A social networking celebrity before embarking on a career as a comedian, Inès Reg depicts the boundaries of artists forged by identification and influence beyond mere artistic proposals, and thus provides us with comedy … without choking.
Indeed, I Want Me Good is never based on any comic construction, failing – and rarely trying – to decisively manage the situation, preferring to watch its protagonist sluggishly winnowing. A bewildering process of poverty, all the more so when characters are characterized so violently, mutilated by text that would make restaurant menus look like slams by Marcel Proust.
And where the biographical aspect can lend some softness to the footage, this dimension really cripples the story. As such, the two lovebirds seem to be systematically avoiding real pitfalls for their characters. No one makes a real mistake, no one makes a mistake or fails, any distracting elements seen are almost instantly evacuated, thus turning the narrative into a kind of neurasthenic revelation that gradually loses interest. Worse still, we sometimes tell ourselves that the film purposely sidesteps the paths that are clearly open to it.
When Inès Reg explained in an interview having a scary time bonding with a guy named Kevin, we regret that the story never really addresses this type of question, which would turn two smears into flesh and blood characters. All that’s left is to focus on the tragically written and well-interpreted supporting roles. And we have to applaud the energy that Laurie Peret and Pauline Clément put forth, which, with a millimeter comic tempo, manages to save some scenes from total embarrassment.