1 day ago
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Please forgive the stereotyping, but this film is so irreducibly French that watching it may cause viewers to develop uncontrollable urges to drink red wine, consume serious literature and silent comedies, and on occasion shrug theatrically while uttering the words “C’est la vie!” All of these activities – plus some even more typecast French antics, such as having extramarital affairs and discussing feelings in depth – are enjoyed by the characters here, a typically bourgeois ensemble that revolves around the three female friends of the title.
Joan (gamine India Hair, sure to be played by Michelle Williams if there’s ever an American remake) is an English teacher at a lycee in Lyons, the mother of adorable poppet Nina (Louise Vallas), the wife of French teacher Victor (Vincent Macaigne). One day, Joan confides to her two besties, fellow teacher Alice (Call My Agent’s Camille Cottin) and art teacher Rebecca (Sara Forestier), that she’s no longer “in love” with Victor and is therefore questioning the survival of her marriage. When she eventually plucks up enough gumption to confess her lack of feelings to Victor, he doesn’t take it well. Meanwhile, Rebecca is having an affair with Alice’s husband Eric (Grégoire Ludig); Alice doesn’t know but she doesn’t seem bothered that he’s a bit distant since, as she explains to Joan, she’s never really loved him that deeply. And wouldn’t you know it, she finds herself very tempted when she strikes up a long distance flirtation with artist Stéphane (Éric Caravaca) and asks Rebecca to be her alibi so she can go meet him one weekend – thereby opening up an opportunity for Rebecca and Eric to spend the weekend together themselves.
The script by Carmen Leroi and the film’s director Emmanuel Mouret is deft enough to keep things in constant comic-dramatic motion, with lovers and romantic prospects constantly cycling through the ensemble as people keep hooking up and then having second thoughts or at least questioning their assumptions. It’s a minor miracle that the cast manages to charm throughout and keep the audience’s sympathies – instead of repelling us with their manifest dishonesty and delusions. For instance, some may find Joan’s belief in the primacy of being “in love” a bit childish and jejune, but Hair imbues the woman with such endearing vulnerability it’s hard not to forgive her flaws. Also, like any good French film, there’s tons of tasteful interiors and chic clothes and much fuss made of food and fellowship, as well as of love. It’s all a bit cliched, but made with such effortless elan it goes down a treat.
