This intimate story about two young girls becoming friends in the asylum centre where they live with their families thrives in the originality of its setting and the delicate vibe surrounding the story. Nonetheless, the overall pace and structure of the film is uneven, as it delivers a rushed first act lacking conflict and drama, a too narrowly focused second act, and reaches an obvious and conventional finalisation.
On top of that, neither performance from anyone in the cast, including those of our mains, is remarkable, which obviously diminishes the otherwise interesting premise.

Two-thirds of the film are splendid. It opens with a deliberately, magnificently uncomfortable first act that heightens the stark contrasts between the characters and the bizarre origins of social media star Magaloche (fantastically portrayed by Adèle Exarchopoulos), followed by a second act brimming with hilariously chaotic energy. This film will make you cringe, in the best way possible, and laugh in equal measure. Unfortunately, when the narrative shifts towards dark comedy, in the vein of the Coen brothers, it loses its punch, resulting in a weak final act.
There are also two other elements that feel slightly underdeveloped. One is the actual analysis of internet stardom and its effects, both on audiences and on the influencers themselves. The other is the depth of the supporting characters (Magaloche’s assistant and the journalist pursuing an exclusive interview), who are noticeably less fleshed out than the protagonist, despite playing essential roles in the plot.

The key to this film’s success as a great and entertaining piece lies in two elements of its script. The first is its perfect balance between social commentary on the reality of the Palestinian struggle and resistance, and the more fiction-driven narrative in which our three main characters find themselves embroiled. Equally important is its engaging and well-structured storytelling. While non-linear narratives are no longer a novelty, the way this film pieces together its timeline is intelligent, playful, and deeply meaningful, enhancing how we interpret the story once it concludes.

This is further elevated by the excellent performances of the three lead actors, each of whom brings distinct personality traits and emotional depth, reminding us that people are rarely as they appear on the surface. Another standout element, beyond the acting, is the skilful use of score and soundtrack, which draws us even deeper into each scene whenever music is employed.

The only aspect that prevents this film from being practically perfect is the slightly rushed storytelling. While the action and more dynamic scenes are well executed, it’s in the quieter moments that the true emotional weight of the characters’ relationships is revealed. Unfortunately, these scenes are fewer than they should be, suggesting a lack of patience in exploring them more fully, something that would have greatly enhanced the film’s dramatic and tense moments.

The film’s captivating quality lies in its unconventional perspective on the Olympic experience, not from the usual vantage point of the athletes, but rather through the eyes of the audience, and more specifically, one woman. This shift in focus, combined with the complexity of Blandine’s character (who leaves us wondering whether she is shy, socially awkward, or simply enamoured with her own solitude), gives the film its emotional depth.

That said, considering the film was shot amidst the Parisian Olympic atmosphere, it occasionally feels as though the potential of such a unique setting is underutilised. The inclusion of archival footage, for instance, is handled too simplistically, often shown via smartphones, which results in underwhelming visuals where a more experimental and distinctive editing approach could have elevated the material.

This shortcoming is accompanied by the disappointing treatment of a crucial and highly relevant topic: the contradictions inherent in hosting an event of such magnitude, and the negative impact it can have on local citizens and communities. The film addresses this in a rather superficial and frivolous manner. Frankly, presenting it so lightly does the subject a disservice. It would have been better left out entirely than handled with so little care, as it deserves far more thoughtful attention.