In this edifying film, Bastien Bouillon embodies an injured, jealous, paranoid and violent man.
Published
Reading time: 4min
The film On days comingin theaters Wednesday, July 23, opens onto a kiss. Laura and Joachim, side by side, are looking for each other, but are no longer. We find Laura, later, we imagine, in her daily life, alone with a little girl with a strong character, who asks a lot of questions. Laura is struggling to reach both ends, but just begins to start living after her separation from Joachim. She accepts a dinner with Lazarus, her work colleague.
Joachim has a new partner, Shirin, with whom he explores Sicilian cemeteries. We don’t know much more about the young woman’s work, but we see that Joachim follows her closely, all the time. We quickly understand that he is jealous, and that this jealousy will become a problem. The same who led to her separation from her daughter’s mother.
With this first film, the screenwriter explores the question of domestic violence. The scenario skillfully features two women victims of the same man, at two different stages of the relationship, to better dissect the grip mechanisms, which we see at work with the new partner of Joachim, while the first seems to have trouble extracting them. Some well -felt scenes with Joachim’s mother indicate tracks to understand the construction of the deviant personality of Joachim, who treats his wounds by torturing his entourage.
Youthful in love in Leave one day – The opening film of the Cannes Film Festival signed Amélie Bonnin -, headliner of Connemarathe adaptation of Alex Lutz’s film in theaters on September 10, on the poster of Comte de Monte-Cristo or from Mr AZNAVOURBastien Bouillon continues roles with amazing plasticity. He embodies here with an freezing accuracy a complex, scary and pathetic character, which he reveals in the story the share of shadow and madness, behind the appearance of a charming teenager, dragging his bourgeois idleness in too large and out of age clothes.
He is accompanied here by the remarkable performances of Zita Hanrot and Alexia Chardard who embody with finesse these two women that strong character and intelligence do not prevent falling under the influence of a man.
The staging dose skillfully thriller and naturalism. The director manages to install a tense atmosphere, in particular with a variation around a musical motif borrowed from Vivaldi (If the owner – when he gives) which returns in various forms, to accompany the mood of the story and its rhythm.
On the naturalism side, the scenes of Laura’s daily life are particularly successful, when she is at work, when she is with her daughter Lou, a bright character camped naturally by the very young Maya Hirsbein, or even the moments of intimacy that Laura shares with Lazare, her discreet colleague, who appears as an antagonistic (and comforting) personality to that of Joachim.
Despite a few lengths, and one or two a little clumsy sequences, Nathalie Najem manages to find the right note, without spectacular effects, to show very clearly the manipulation and the mechanisms which lead to violence, by drawing without caricature the portrait of the aggressor and his victims.
Genre : Dramatic comedy
Realization : Nathalie rental
With : Zita Hanrot, Bastien Bouillon, Alexia Chardard
Pays : France
Duration : 1h40
Sortie : July 23, 2025
Distributer : Paname Distribution
Synopsis : Nice, nowadays. Laura, in his thirties, tries to rebuild herself after a tumultuous relationship with Joachim. She leads an apparently quiet life, raising her little daughter alone. But Shirin’s accident, Joachim’s new partner, will bring up his past. The two women, prey to the violence of the same man, will gradually support themselves …
