‘Peak Everything’ Review: Piper Perabo Headlines a Cute Canadian Rom-Com Imbued With Very Timely Anxieties

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In “Peak Everything,” director Anne Emond delivers a realistic and slightly inconsistent dark romantic comedy that seems fitting for our present uncertainties. (Previously: With “Peak Everything,” director Anne Emond [of “Young Juliet” and “Nelly”] provides a relatable, if somewhat uneven, dark rom-com that matches these uncertain times.)

In this movie, Patrick Hivon plays Adam, a French-speaking dog breeder from Quebec who’s grappling with deep depression and anxiety over climate change. He accidentally meets Tina (Piper Perabo), who lives in Ontario, when he calls a technical support line. Despite the chaos of wildfires, storms, and earthquakes happening near the storyline, Adam and Tina can’t help but feel drawn to each other despite obstacles like Tina being married. The script by Emond skillfully creates an ending that is hopeful yet still tinged with raw sadness.

The somber undercurrent in “Peak Everything” might restrict its international commercial success beyond Canada, but its premiere at Cannes’ Directors’ Fortnight could enhance its foreign market potential. However, despite this, it maintains a distinctly Canadian flavor, which is both endearing and melancholic, showcasing a compassionate, humanist perspective towards its characters, even the unlikable ones. The backstory of Tina remains unexplained – a slight disappointment because if we knew she was American, like her actress, the film could be interpreted as an allegory of Canadian-American harmony at a time when such messages are particularly relevant in light of current political circumstances.

Adam resides in a quaint town situated within the French-speaking province of Quebec, a region boasting scenic landscapes despite being marred by industrial damage along its main arteries. Remarkably, this ruggedly handsome and fit individual has been single for quite some time. However, his love life transcends the boundary between Quebec and Ontario.

He’s so love-struck that he doesn’t object when his seductive young employee, Romy (Elizabeth Mageren), unexpectedly pulls him aside during their dog walking routine at the kennel and suggests a shared moment of intimacy. The scene where the dogs sit attentively in one spot, as if watching Adam and Romy, was likely staged with rewards and commands to stay, but it’s endearing nonetheless. The following day, Romy takes advantage of the situation by arriving late and later making Adam uneasy by bringing a male colleague to work for a private encounter.

In simpler terms, Adam’s rough-around-the-edges father, Eugene (played by veteran Canadian actor Gilles Renaud sporting an absurdly long-haired wig), is far from soothing, particularly since he discards the antidepressants and sleeping pills that Adam has recently been prescribed down the drain, arguing that his son doesn’t require such medications. As the story unfolds, we discover that Adam’s mother may have also suffered from depression. Director Emond mentions in the press notes that a family history of suicide and depression partially influenced the plot’s development. Anyone who follows current events even casually will understand why Adam is filled with worry due to the constant stream of climate-related disasters that appear to escalate daily, which he discusses extensively with his new therapist.

When Adam comes across a pamphlet containing a phone number for “support” while unboxing his new light-therapy lamp, he assumes it’s for emotional rather than technical assistance. As a result, he gives them a call, only to be connected with Tina. Her soothing voice and cheerful chuckle are comforting right from the start, even when she follows the customer service script closely that she has been provided at her call center workplace.

After some casual phone calls, they started exchanging personal stories and laughter, but when the line suddenly disconnected one evening, Adam found himself in a state of panic. He quickly grabbed his father’s car keys and drove through the night to locate Tina, who had been evacuated to a community center due to an unexpected earthquake that rocked her town, crossing the border in the process.

The situation bordering on disaster strongly hints at an author’s manipulation to bring the main characters together face-to-face, with additional comedic twists engineered to push them closer being equally obvious. Yet, the believable chemistry between the leads makes it easy to overlook these plot devices as we witness their relationship blossoming in Quebec. They seem to be running from something and standing still at the same time, unsure of how to handle their growing feelings for each other. A particularly inventive, sensual scene takes place in a bedroom where they express their attraction without crossing any boundaries of chastity.

Creative elements like those significantly help to smooth out the movie’s minor yet noticeable issues, such as its overly sentimental ending and areas where character development could be stronger. However, Emond and the cast’s excellent comedic delivery, combined with the authentic feeling that the main idea originated from genuine worry, manage to carry it successfully. Additionally, the gritty, comforting feel of Olivier Gossot’s 35mm cinematography serves to soften the film’s harsh edges in a delightfully nostalgic manner.

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2025-05-20 23:25