‘Leave One Day’ Review: Charming if Familiar French Musical Dramedy Opens Cannes 2025

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Musicals have always held a special place in the hearts of Hollywood and Bollywood audiences, yet it’s important to acknowledge that France has also made significant strides within this genre. Pioneers like Jacques Demy, whose films “The Umbrellas of Cherbourg” and “The Young Girls of Rochefort” are timeless classics, have paved the way for other French filmmakers to experiment with musicals. Notable contributors include Jean-Luc Godard (“A Woman Is a Woman”), Alain Resnais (“Same Old Song”), Christophe Honoré (“Love Songs”), François Ozon (“8 Women”), Léos Carax (“Annette”), and more recently, Jacques Audiard (“Emilia Perez”).

Many of these films share an unusual blend of reality and musical elements, as they are set in authentic locations and feature characters who unexpectedly burst into song or dance. Unlike Broadway in Paris, there’s no extensive history of musical theater, so the French often incorporate real-life settings and people into their productions. Demy pioneered this approach by creating his musicals in two coastal French towns, establishing a trend that has been frequently replicated since, with Audiard’s acclaimed Mexican narcos being a recent example – despite being filmed in a Paris studio, it was designed to appear as realistic as possible.

In the film “Leave One Day,” or “Partir Un Jour,”, first-time director Amélie Bonnin preserves tradition by incorporating spontaneous singing and dancing scenes throughout, set in various locations like greasy spoons, county fairs, late-night barbecues, cheesy rural nightclubs, and the Loir-et-Cher region where it was filmed. Notably, these musical moments are often spearheaded by renowned French singer Juliette Armanet, who makes her debut as a leading actress in the role of Cécile, a celebrity chef returning home to assist at her parents’ roadside eatery.

The events surrounding Cecile are somewhat foreseeable compared to the unexpected melodies that suddenly emerge: She encounters her high school sweetheart, Raphael (played by Bastien Bouillon), who manages a garage and still harbors feelings for his former girlfriend. Simultaneously, her parents, Dominique Blanc and Francois Rollin, are struggling to keep their family business afloat, especially after the latter experiences a heart attack that forces Cecile to return home. It’s also important to mention her current partner, Sofiane (Tewfik Jallab), another contestant from Top Chef, with whom she is planning to launch an exciting new restaurant in Paris.

In a fresh take, Bonnin – who transformed the script with Dimitri Lucas based on her César award-winning short – presents an engaging narrative of homecoming, enhanced by insightful observations and plenty of allure. Although the environment could be fitting for a Dardennes brothers film, Leave One Day steers clear from blue-collar melancholy, avoiding both the grim realism seen in their work as well as the gritty musical sequences characteristic of Lars von Trier’s Dancer in the Dark. While certain moments may be somber, the overall mood remains optimistic.

The singing sequences, unexpectedly integrated throughout the plot, significantly contribute to the overall feel of the movie. Right from the initial scene where Cécile and Sofiane spontaneously perform Stromae’s hit track “Alors on danse” in a rap format, it becomes clear that music sets the tone rather than driving the narrative. The majority of these songs are actually well-known hits, like those by Céline Dion or Claude François or Michel Delpech (names not widely recognized outside France), which have been creatively rearranged by a team of seven composers.

One Day Away” deviates more from being a traditional musical comedy than it does a karaoke-style musical or perhaps a Spotify musical curated around the playlist titled “My Favorite Songs“. It shares similarities in structure and operation with Resnais’ “Same Old Song“, which creatively used French pop standards, and was quite successful domestically when it premiered in 1997. Unfortunately, Resnais’ film didn’t achieve much international acclaim, so it’s likely that “Bonnin’s movie” will resonate most with Francophone regions where Armanet is still a well-liked artist.

The performer exudes self-assurance on the screen, particularly during performances, though she convincingly acts as well. However, criticism comes her way from her father and old friends due to her newfound fame and perceived betrayal of her roots, especially when she criticizes their traditional cuisine. It’s a tough situation for Cécile, made more complex by the fact that she is pregnant and has kept this secret. Armanet skillfully portrays these struggles without being too melodramatic, depicting how easily Cécile is drawn back to her gritty hometown, especially when she spends time with the charming and alluring Raphaël.

The standout musical moment in the movie undoubtedly occurs when the main characters revisit their old ice-skating rink from their teenage years, reminiscing about a past romance that ended unexpectedly. This particular scene is scored with the cheesy 2004 rap track “Femme Like U,” during which the actors enthusiastically sing along to its catchy chorus – ““Hand over my heart baby, your body baby…”” – while skating in sync on the ice.

In their respective works, Armanet and Bouillon (specifically “The Night of the 12th”) reach their peak, showcasing skating, singing, and embracing the nostalgia that permeates “Leave One Day” in its entirety, musically and thematically. Bonnin offers a similar comforting cinematic experience to what Cécile’s parents provide for their truckers – easy to savor yet somewhat lacking in depth. Her film is a heartwarming production about individuals who, for the most part, are not particularly joyful. It leaves viewers with a pleasant sensation that quickly dissipates as soon as the final song concludes.

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2025-05-13 22:56