
Brillantissime
2018

2021
Director
Michèle Laroque
Runtime
83 minutes
Average Rating
No ratings yetSynopsis
Catherine and Yann, happily married for many years, should have spent the year travelling abroad. But since he sold his business, Yann has been too busy with his bonsai trees and keeps postponing the big trip. Things go from bad to worse when their 27-year-old broke daughter and her boyfriend lose their apartment and come knocking on the door to stay. With Yann’s mid-life crisis spinning out of control, their couch surfing daughter and partner getting increasingly invasive and their stay becoming indefinite, Catherine will try everything to kick them out of the parental home and get her life back on track!
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film lacks significant focus on non-cisnormative or non-heteronormative identities. Character dynamics center on traditional heterosexual pairings and familial structures.
Gender Representation
The story explores autonomy within marriage and parenthood. It adheres to traditional tropes regarding maternal emotional labor and paternal mid-life crises.
Racial & Ethnic Diversity
The production features a predominantly white, middle-class cast. There is a notable absence of intersectional character depth or non-white demographics in primary arcs.
Religious & Cultural Diversity
The film operates within a standard Western framework of middle-class lifestyle. It focuses on family units without engaging in systemic deconstructions of Western institutions.
Disability Representation
There is no discernible representation of visible or invisible disabilities. The narrative does not include neurodivergence or chronic illness.
Strengths
Areas for Improvement
AI Analysis
Kids Are Back is a conventional situational comedy that prioritizes generational friction over identity-based exploration. The narrative functions within a traditional middle-class French framework, focusing on domestic tension rather than social critique. The film reinforces existing social hierarchies and heteronormative structures. It lacks intentionality regarding intersectional representation, making it a standard comedic work that does not challenge modern sociological frameworks. Ultimately, the production remains within a narrow demographic scope, offering little variety in terms of race, disability, or queer perspectives.

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