Tonight at 8:55 pm, Arte is broadcasting three new unreleased tracks from the unclassifiable black comedy created by Anne Berest and Fabrice Gobert (“Les RevENTS”). While Elvira’s lie has divided her family, can we find the ingredients for the success of season 1?
Elvira Lambert blew up her family by inventing cancer. Rejected by her family, she moved into the guest room of her neighbors’ house and spied on the slightest actions of those close to her.
For their part, each painfully tries to rebuild. Patrick, prostrate, crawls around in a filthy bathrobe, unable to handle daily life. He reluctantly accepts the interested help of Sandrine, who pursues him with her advances. Sam falls in love with Renan, a student of hypokhâgne with literary pretensions, while Carole is fascinated by Lorenzo, a supposed distant cousin who interferes with them.
But as the Christmas holidays approach, Elvira must leave her den and find herself homeless. Who is this mysterious Lorenzo who burst into his life? Will he prevent her from winning back her family or help her unravel her past?
Every Thursday at 8:55 p.m. on Arte and in full on arte.tv
After the lie, the truth
With two distinct temporalities divided by an ellipse, this season 2, darker and more perilous in its narration, explores the difficulty of remaking a family after the break-up caused by the revelation of the lie, and shows on what fragile base of the unspoken its balance can rest.
As Season 1 explored the ravages of lying within the family, after Elvira (Marina Hands) invented breast cancer to re-focus her family’s attention on the distress that was gnawing at her, this season 2 takes place. this time focuses on the consequences of the truth, after the explosion that followed his admission.
The two creators of the series, Anne Berest and Fabrice Gobert (who also signs the production), shift away from the character of Elvira to scrutinize her entire family with a magnifying glass. The opportunity to dispel the opacity around the past of the heroine with the arrival of the character of Lorenzo (Luca Terraciano), which injects a lot of darkness and chaos into the series which until now alternated between lightness and gravity.
On the other hand, if Elvira’s family unites and rejects her following her betrayal, the lies they tell to themselves end up exploding in their faces.
Characters under influence
Sam (Jérémy Gillet) burns with a toxic love for Renan (Théo Augier), a boy who does not assume his homosexuality and uses it according to his moods. Carole (Marie Drion) develops feelings for this mysterious Lorenzo, who presents himself as a distant cousin. Finally, Patrick (Mathieu Demy) takes pleasure in his carelessness and nourishes a tenacious grudge against Elvira, quickly forgetting that he had been cheating on her for years with the pharmacist (Linh-Dan Pham) before she announced to him its supposed cancer.
The theme of influence is also found through the character of Sandrine (Marie Bouvet), a sort of Machiavellian inversion of Elvira ready to vampirize the Lambert family. A theme also illustrated directly when Carole and her young sister Virginie (Zélie Rixhon) find a semblance of refuge with Mme Ménard (Catherine Mouchet), leader of a sect with dubious purification methods which is rampant in their neighborhood.
Strangeness characteristic of the offbeat universe of the series, the sect serves here as a satire on the family sphere and the alienation of the individual by the group. But Mytho does not spare the world of work either through the obsessive neurosis of Mr. Brunet (Yves Jacques), the ex-boss of Elvira who reserves him further disappointments.
If this new season will seem harsher, even more cruel to those who had appreciated its tone both pop and scathing, we take pleasure in finding this gallery of singular characters, some of whom gain sympathy in their continuity: the performance of Mathieu Demy in the role of Patrick, as pitiful as touching, gives an unexpected depth to the character.
Undoubtedly one of the nuggets of this fall, Mytho continues to stand out by offering a black comedy on the family, and assumes an ever greater formal freedom.