Credits: Chris93 / Wikimedia Commons — CC BY-SA 4.0.
The third film by Baya Kasmi, a director noted for Just to Be Sure and screenwriter of the hit The Names of Love, subtly walks the line between social chronicle and idyllic Provençal backdrop. Yet behind these bright landscapes and quiet smiles lies a powerful subject: how do you raise your children outside the system without losing your footing? Unfortunately, Kasmi seems to have preferred to tentatively dip a toe in rather than plunge into the bubbling depths of the societal debate.
The main characters, Mikado and Laetitia, lovable outsiders drawn from a complex social reality, nevertheless offered rich dramatic potential. However, their rebellion remains restrained, almost as calm as a game of pétanque between retirees. By tackling the themes of alternative education and social exclusion head-on, Kasmi could have energized her story with welcome narrative daring.
Félix Moati and Nuage: Lovable Characters, But Needing More Depth
The protagonists of Mikado had obvious emotional potential, but it was underused. Félix Moati, accustomed to sensitive roles like in Two Sons and Night Doctor, once again excels as a slightly tyrannical bohemian father. However, we are left unsatisfied because we never grasp why this free spirit rules like a hippie dictator.
For her part, the young Nuage, played with finesse but restraint, deserved better than a slight narrative haze. Her desire for school normalcy and her discomfort with the family’s eccentricity could have been given more emphasis. A more pronounced existential crisis would thus have offered viewers a real teenage storm rather than a light summer shower.
Provence: A Splendid But Underused Setting
Provence, the magnificent natural backdrop of Mikado, was ideal for heightening the characters’ existential anguish. Yet the sumptuous scenery remains as peaceful as a postcard for tourists in search of lavender. A sharper contrast between visual sweetness and dramatic tension would have given the film a more piquant cinematic flavor.
By drawing more inspiration from works like Matt Ross’s Captain Fantastic, Baya Kasmi could have given her direction more bite. A more restless camera would have brilliantly conveyed the father’s emotional turbulence. Likewise, a few heavy silences would have subtly lifted the scenes with Vincent, played by an ever-impeccable Ramzy Bedia, balancing comedy and melancholy.
A Conclusion Too Mild For An Unusual Story
The ending of Mikado feels like the first day back at school after two months of freedom in the summer: necessary, but frustrating. The swift return to conventional social norms is notably lacking in boldness. Why not have left this endearing family in a charming state of uncertainty, true to its taste for going off the beaten path?
A bolder ending would have extended the discussion for the viewer. By avoiding bland consensus, Kasmi would have better honored the libertarian and bohemian identity of her characters. The film could have avoided leaving the taste of lukewarm herbal tea. We were hoping for a full-bodied red.
Lovely Narrative Potential Undermined By Too Much Caution
Ultimately, to save Mikado, Baya Kasmi only needed to add a pinch of narrative daring and a dash of biting humor. Without veering into gratuitous provocation, the film could have become a sharp insight. It would have explored marginality and individual freedom. In being so cautious, it remains a pleasant but timid film, leaving the viewer with the feeling of a deliciously unfinished narrative potential.