Neige and his family spend their last hours in the company of Emir, their grandfather. Installed in a retirement home, the former Algerian activist and intellectual dies. Deprived of its pillar, the family implodes under the blows of the complicated relations between its members. The decisions required for a funeral trigger disagreements; and the death of the grandfather provokes an identity crisis in Neige. In a desire to return to her roots, she carries out a DNA test, the result of which will be guided by the choice of the heart.
Refocused on the quest for origins, the DNA of a woman torn apart by her muliculturalism, the film delves into a demonstration that borders on narcissism or self-fiction à la Christine Angot.
Olivier Delcroix, Le Figaro
“The film plunges into a demonstration that borders on narcissism or self-fiction à la Christine Angot», Declares Olivier Delcroix, in the columns of Figaro . Like Neige, Maïwenn immersed herself body and soul in a search for origins after losing her grandfather a few years ago. The journalist praises “attention to detail [qui] gathers reality in its essence“And judge at the same time”commendable“And”elated“”this uninhibited way of showing unvarnished the emotional turmoil caused by the death of a loved one“.
The director manages once again to move us with this quest for oneself which oscillates between laughter and tears.
Céline Rouden, La Croix
Less receptive, Liberation qualifies “immodest” , “this fake pact of authenticity of the sadly joyful and fucking alive“. She also sees in “Maïwenn’s new “autobiofantasmatic” film“,”family conflicts that she seems to replay only for herself “. “Ah, blow the nose of the scoundrel father who calls her a bourgeois, and finally say to Maman-Fanny Ardant “You disgust me !””, mocks Sandra Onana.
For Céline Rouden, from The cross , the success ofDNA is precisely in the emotion it gives off. According to her, “the director manages once again to move us with this quest for oneself which oscillates between laughter and tears.The journalist points out in passing that “As always with Maïwenn, who leaves a large part to improvisation in her direction of actors, the most successful scenes are choral”.
ADN reserves against all odds some really funny sequences to be largely credited to Louis Garrel, an attached piece trying to keep a minimum of distance in front of this great existential unpacking that left us incredulous.
Christophe Caron, The Voice of the North
Same spirit in the criticism of Jacques Mandelbaum who describes for The world “a funeral tragicomedy, tightrope walk, bringing the family into conflict during the obligatory stages“. Conquered by the “Very good troupe of interpreters”, he considers these moments “funny, filmed as if on the fly, in feverish shooting, false connections, moving camera, stealthy close-ups. Feeling of seized life, fragility, surprise, instability, served by a very good group of actors“.
As for the actors, the performances of Fanny Ardant and Louis Garrel are noticed. According to Jacques Mandelbaum, the first “offers, in blue oilskin and undone wick, a remarkable and hilarious hysterical note“. Christophe Caron, from The voice of the North , attributes the comic success of the film to Louis Garrel, “patchwork endeavoring to keep a minimum of distance in front of this great existential unpacking which left us incredulous.The light lines of the actor put all the critics in agreement: they help to save a film considered excessive, narcissistic and Manichean.