Agnès Jaoui's career seems absorbed in the X-ray of a certain French bourgeoisie from the stroke particular human group and from verbal incontinence. His films reveal family gatherings sample with which to structure an arsenal thoughtful: political, emotional maturity, collision between the conventional and intimate, between social norms and personal desires. And the best baking this "thinking" about people and life seems to be the dialogue, provided the engine Traditionalist schemes irony dresses, toned optical friendly, a point below the blackness and the poisoned dart of people like Chabrol. 
not overdo the author AS A PICTURE (2004) of its usual path and leaning back to undress conflicts intelligent humor in free flight of another comedy rough dab national navel-gazing by those of Gaul, spread with unusual acceptance at the box office. Poetry and insight suggests a title like Let It Rain, although not finish offer both elements in large doses. By way of a tapestry of precise tailoring, Jaoui manages to cross threading and dialectical relations to give shape an entire emotional landscape, but also discrete cash. It does entangling light disguising what he intends to go further. There are claims of questioning certainties and miseries, to categorize sarcastically some of the features of social life.
communication between men and women, between parents and children, sexism in key sectors of public life, racism, emotional knots with children and the environment where personal prism of the world is brewing. Background beat some big issues in this contemporary western individualism often rotten and full employment, then stereotypes when thinking, acting and feeling. Without reaching the fearsome swamp discourse, the scenes are well conceived, irrigated cultural and intellectual references 
not drown the picture of this bunch of characters, their adult concerns and a reworking of everything they had as safe: the father whose authority is weakened, the politician who is challenged his fierce independence, Arab immigrants in his eternal quest for respect and identity. Some really nice moments alternate with dramatic sketches loosely defined, making the proposal, and soberly elegant shot, poorly. The solid work of actors on the development of this new approach masks behavior within a community. An acute study in charcoal to disarm the goodism of some relationships, and the connection between public authorities and individuals. It is at least curious 
the use of audiovisual resources with which to weave the material: for one reason or another, enter into the popular person to destroy prejudice is not only difficult but impossible.
not drown the picture of this bunch of characters, their adult concerns and a reworking of everything they had as safe: the father whose authority is weakened, the politician who is challenged his fierce independence, Arab immigrants in his eternal quest for respect and identity. Some really nice moments alternate with dramatic sketches loosely defined, making the proposal, and soberly elegant shot, poorly. The solid work of actors on the development of this new approach masks behavior within a community. An acute study in charcoal to disarm the goodism of some relationships, and the connection between public authorities and individuals. It is at least curious the use of audiovisual resources with which to weave the material: for one reason or another, enter into the popular person to destroy prejudice is not only difficult but impossible. 
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