In a remarkable debut that effortlessly intertwines humor and poignant themes, Enya Baroux’s film "On ira" explores the complex issue of end-of-life decisions amid a comedic road trip. The film, featuring a powerful performance by Hélène Vincent as Marie, a grandmother seeking an end to her life in Switzerland through euthanasia, captures a delicate balance between gravity and lightness, making viewers both think and feel deeply.
Baroux, who draws inspiration from her grandmother’s own story, constructs a narrative where Marie, nearing 80, makes the irrevocable decision to end her life. Rather than revealing her true intentions to her family, she concocts a tale involving a notary and the recovery of money in Switzerland to motivate them to join her. The film provides a unique and heartfelt glimpse into how familial bonds are challenged and reshaped in the face of significant life choices.
Throughout the film, Marie is supported by Pierre Lottin, who plays the role of her caregiver, bringing a mix of charm and clumsiness that endears him to the audience. Lottin’s portrayal adds layers to the narrative, creating a relationship filled with tenderness and unspoken truths. Audiences are treated to a refreshing dynamic, where the humor of their situations offers respite from the film’s heavier themes.
The road trip itself becomes a centerpiece of the story, with the family packed into a somewhat rickety camper on a journey that is as uncertain as the destination. They stop along the way, engaged in conversations that often veer into emotionally charged territory. This serves as a reflection of their interpersonal struggles; a father and daughter finding common ground as they confront their matriarch’s fading presence and the reality of a future without her.
"On ira" artfully blends comedic elements into serious storytelling, capturing various light-hearted moments that contribute to the film’s feel-good essence. Critics have noted how Baroux plays with the thin boundary that separates heaviness from gaiety, creating moments that resonate with laughter even in the face of sorrow. As one critic pointed out, the film "transforms every moment into a stolen instant, making viewers acutely aware of the fragility of life and the importance of memory."
The film does not shy away from the intricacies of death and dying, instead choosing to portray them honestly while still making space for humor and joy. One particularly poignant scene has Marie, adorned with inflatable armbands as she floats in the sea, embodying the innocence and carefree spirit she seeks even in her final days. This whimsical visual is not merely about fun; it encapsulates a fleeting moment of liberation from the physical pains she’s experienced throughout her life.
Following the success of her mini-series "Fleur Bleu" on Canal+, Baroux makes her mark in the film industry with "On ira," showcasing her ability to tackle difficult subjects with a nuanced perspective. The film excels in maintaining a level of sincerity without veering into sentimentality, ensuring that it remains relatable and accessible to a wide audience.
As a feel-good movie, "On ira" has been praised for managing to navigate its serious themes without sinking into the realms of melodrama. It is a story of laughter interwoven with heartache, resonating with those who have experienced the complex emotions surrounding end-of-life choices. "It’s a film that sways hearts on a Sunday evening in a dark cinema," a critic stated, highlighting its emotional potency.
In conclusion, Enya Baroux’s "On ira" stands not only as a personal story rooted in her family’s history but also as a poignant commentary on the choices we face regarding life and death. By blending humor and emotion, Baroux has made a compelling debut that invites viewers to reflect on their own journeys while providing a deeply satisfying cinematic experience.
