The title fracture, as if the evil broken arm suffered by Tin Character Ditsy RAF (Valeria Bruni-Tedeschi). He is a comic book artist based in Paris.
Who sneaked and fell having a traumatic separation. And maybe metaphorically with his partner Julie. (Marina Foïs). But there are other levels of metaphors to come.
Took RAF to the hospital, which was in a state of chaos:
With the waiting time of eight to 10 hours at A & E. Because everyone in the anti-macron gilet. Jaunes demonstrations was beaten, clog and shot by the police.
This is the same demo as Julia’s teenagers are ongoing, and their face calling to her mother is not convincing. The patient in the waiting room of the Hospital Hospital Warzone M * A * S * H-Style includes a truck driver, YANN (Pio Marmaï).
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Who lives on the poverty border and goes into it. With the Test RAF in the waiting room. The scuzzy to be right Arogan type of Liberal-Centrist Paris Elitis that supports Macron. RAF asked him if he preferred Le Pen, and the argument was unclear. Meanwhile, hospital staff who are very stressed do the best – but maybe France is broken and divided.
This is a good-meaning film with some frank performances. Even though there are little cries of ongoing actors and tension smiling. From Bruni-Tedeschi sometimes feel a little affected. In the end, it looks like a direct transmission of the unique features of Holby City.
And this film can never fight a little symbolism. The patients (and the film audience) jumped out of their skin. When somewhere had a little ceiling collapsing with a dust shower and straggly cable. “Health is collapse!” someone said.
A film like this must stand or fall by human relations and performances born of chaos.
There was a pleasant moment when Julia recognized her contemporary old school. Whose daughter is brutally beaten by the police in the demo. Yann has several lines that are punchy. But inevitable RAF and Yann’s terrible friends and RAF and Julia finally returned together, weighing the weight on the film. Really, what’s the use of everything?
“La fracture” is, in turn, both funny and painful, often in the same scene, like the sequence of UUKUS. For a moment, who was initially funny because he was ridiculous posture. Donkey, feet are hanging To the floor and quickly turn into actual discomfort (technicians do not know how to maintain the patient’s pain).
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But too often, Corsini quickly rubbed the most exciting texture (Director also wrote a film. Along with Agnès Feuvre and Laurette Polmanss) to continue to another sequence of people shouting or acting bad or, hell, the ceiling fell for no reason.
While initially served as more trustworthy than the duo:
Panic it was understandable, remembering his condition shot his leg. Corsini never refused to show a rough-looking injury. But his belief was too often angry by the two realities (he protested the government. But he was the hospital provided free care, as paid by, Oops, government).
And self-involvement (he adores seeing his engagement rate ticking on social media). The evil combination of pain (physical and emotional), treatment, confusion, and boredom keeping RAF and YANN with each other and stepping quickly on the neck of anyone willing to pay attention to it for the time to run full.
“Pleasant” characters, quite funny, one non-professional actor in a group: Ainssatou Diallo Sagna, an honest life health care worker who brought original care, charisma, and texture for his turn as Kim. He had his problems – like a sick baby at home – but it didn’t stop him from trying to pay attention to his work and treat the people around him respectfully.
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This is a lesson more people – both in the film and in the real world – can stand up to study, but Corsini throws them together into one Milieu lattice showing that he might not get all this look. This is not a piece of life because it is a vital piece, the violent confrontation that will turn off most people long before bridging the gap.
