
Kids Are Back
2021

1994
Director
Patrick Braoudé
Runtime
110 minutes
Average Rating
No ratings yetSynopsis
Samuel est psychanalyste. Toute la journée, il voit des patients exprimer des griefs, en particulier des adolescents rebelles qui méprisent leurs parents. Cette situation l'a conduit à voir d'un mauvais œil l'idée de sa paternité. C'est alors que sa compagne Mathilde lui annonce qu'elle est enceinte. Terrifié par l'idée, Samuel vit les neuf mois de grossesse de Mathilde plutôt comme un cauchemar, et les conseils de son ami Marc, homme à femmes mais célibataire endurci, n'arrangent rien à son angoisse. De leur côté, Georges et Dominique, la sœur de Marc, déjà parents de trois filles, affrontent sans inquiétude la quatrième grossesse de Dominique. L'expérience des uns va finalement avoir raison des appréhensions des autres, et entre les deux couples vont se tisser de solides nœuds d'amitié.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film centers on heteronormative relationship structures and traditional pregnancy. There is no evidence of non-cisnormative identities or narratives that critique these standard frameworks.
Gender Representation
The story explores male vulnerability through Samuel's fear of fatherhood. While it touches on gendered emotional labor, it relies heavily on established tropes and traditional hierarchies.
Racial & Ethnic Diversity
The narrative depicts a homogeneous demographic typical of 1990s French cinema. There is no documented evidence of significant racial blending or a diverse cast within the social circle.
Religious & Cultural Diversity
Themes of family and parenthood are explored through domestic comedy. The film focuses on individual psychological journeys rather than systemic or anti-institutional critiques.
Disability Representation
The provided context contains no evidence of characters with visible or invisible disabilities.
Strengths
Areas for Improvement
AI Analysis
Neuf Mois is a conventional 1990s comedy that prioritizes domestic relatability over social subversion. It functions primarily within a standard romantic-comedy framework, focusing on the anxieties of a psychoanalyst facing fatherhood. The film offers a moderate look at masculinity by highlighting male vulnerability and the disruption of patriarchal confidence. However, these explorations remain within traditional social parameters. Ultimately, the work lacks intersectional complexity. It focuses on the interpersonal dynamics of a specific, homogeneous social circle rather than addressing broader systemic or diverse identities.

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