Long live the average.

The French Filmhit "C'est la Vie" is a very normal middle-class family through their normal life - and celebrates it as a model of happiness for all. A stroke of luck for the cinema's?

 

The good old prejudice, with films from France, it is mostly art films with hochkulturellem claim should be refuted slowly apply. In any case, Germany has little to them today - only when Claude Chabrol again aufgerafft has (most recently with "The two women"), some times the French actually won at Cannes ( "The Class") or if it is action-packed gangster film disguises ( "Public Enemy No. 1.", which also launched today).

Otherwise seems to prefer the loose, flaky product to be exported, such as "Odette Toulemonde", "My best friend," "Chansons d'Amour", "This is Paris" and, above all, of course, Dany Boon "Welcome to the Sch'tis" , after his incredible success in France here in nearly two million viewers reached.

And now just "C'est la Vie - as we are, so is the life" by Rémi Bezançon. Flakier it's not at all. Even the preamble suggests a light-tone and presented as a kind of picture album moments of happiness of a family of five, before the film with its first episode from the year 1988 will really be true: Taxi driver Robert (Jacques Gamblin) lives with his wife Marie-Jeanne ( Zabou Breitman), two sons and a daughter of the grandfather in the house financed by the Open and has just two problems: the old family dog should be eingeschläfert and the eldest son Albert (Pio Marmai) wants in the first home of their own move.

From there, follow "C'est la Vie" This emphasizes the average family in part by the most important days in her wonderfully normal life. The mother tries again as a student, the father tried unsuccessfully to quit smoking, the other son Raphael (Marc-André Grondin) gets little to the series but is still a nice guy, daughter Fleur (Deborah Francois) discovered the Grunge and first love. There will be married, as to be reconciled, each crisis is somehow durchstanden, just as in most ordinary families, and at the end, all much better than before, as at least should be.

Nothing is stronger than family ties, it is simple, but difficult rebuttable Embassy, long live the average, and the director and author Bezançon celebrated this idea in as simple as more effective form - likeable characters, a schmissiger soundtrack by David Bowie and Lou Reed (with the inevitable "Perfect Day"), a little slapstick, a shot of pathos, problems, which everyone knows, and of course a tearful final driving sequence.

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Similarly one has the least in the highly successful Hollywood Audibles
"Marley & me" view in which the audience also had a family over the years through their banal everyday should accompany, except that a dog constantly jumps through the screen. "C'est la Vie", whether in France to great success with a little bit exaggerated nine César nominations rewarded (eventually to two prizes for the best young performers and led to a cut for the best), there is not more demanding than its American counterpart . But similarly entertaining.

Perhaps enough, yes.