The third film by Baya Kasmi, a director noted for Je suis à vous tout de suite and screenwriter of the hit Le Nom des gens, subtly navigates between social commentary and idyllic Provençal scenery. Yet, behind these bright landscapes and discreet smiles lies a strong subject: how to raise children outside the system without losing one’s footing? Unfortunately, Kasmi seems to have preferred to timidly dip her toes rather than dive into the bubbling depth of societal debate.
The main characters, Mikado and Laetitia, endearing misfits from a complex social reality, offered a rich dramatic potential. However, their rebellion remains moderate, almost as calm as a game of pétanque among retirees. By frankly addressing themes of alternative education and social exclusion, Kasmi could have energized her narrative with a welcome narrative boldness.
Félix Moati and Nuage: endearing characters but needing more depth
The protagonists of Mikado had evident emotional potential, but it was insufficiently exploited. Félix Moati, accustomed to sensitive roles like in Deux fils and Médecin de nuit, excels once again as a slightly tyrannical bohemian father. However, we remain unsatisfied because we don’t understand why this free man leads like a hippie dictator.
On her side, the young Nuage, portrayed with finesse but discretion, deserved more than a slight narrative mist. Her desire for school normality and discomfort with family eccentricity could have been highlighted more. A more marked existential crisis would have offered viewers a true adolescent storm rather than a light summer shower.
Provence: a splendid but underutilized setting
Provence, the magnificent natural setting of Mikado, was ideal for accentuating the existential anxiety of the characters. Yet, the sumptuous landscapes remain as peaceful as a postcard for tourists seeking lavender. A sharper contrast between visual softness and dramatic tension would have added a spicier cinematic flavor to the film.
By drawing more inspiration from works like Captain Fantastic by Matt Ross, Baya Kasmi could have given her direction some bite. A more nervous camera would have brilliantly conveyed the father’s emotional turbulence. Similarly, a few heavy silences would have subtly enhanced the scenes with Vincent, played by an always impeccable Ramzy Bedia, balancing comedy and melancholy.
An overly tame ending for an unconventional story
The conclusion of Mikado resembles a return to school after two months of summer freedom: necessary but frustrating. The quick return to a conventional social norm singularly lacks boldness. Why not leave this endearing family in a charming uncertainty, true to their offbeat taste?
A bolder ending would have extended the debate for the viewer. By avoiding a soft consensus, Kasmi would have better respected the libertarian and bohemian identity of her characters. The film could have avoided leaving a taste of lukewarm herbal tea. We were hoping for a robust red wine instead.
A lovely narrative potential underutilized due to excessive caution
Ultimately, to save Mikado, Baya Kasmi only needed to add a pinch of narrative audacity and a dash of biting humor. Without tipping into gratuitous provocation, the film could have become a striking reflection. It would have explored marginality and individual freedom. Due to caution, it remains a pleasant but timid film, leaving the viewer with the sensation of a deliciously unfulfilled narrative potential.
