Zino (Tewfik Jallab) is a young man of Algerian origin. Following the death of his mother, he decides to set off in search of his long-lost father. What a shock it is to find his father. His father is not a man, but a woman. In his fifth film, Nadir Mokn\u00e8che has entrusted the role of the transsexual character to the delicate Fanny Ardant.<\/p>\n\n\n\n\n\n\n\n
Audiences and press alike are bound to be divided over the fact that the story's transgender hero is not played by someone who has actually undergone such an operation. Especially since, with Fanny Ardant, the Franco-Algerian director has not chosen the actress least known for her femininity. A whole iconography of the sublime woman surrounds the actress who made her name in films such as Soft pedal<\/em> or Eight women.<\/em><\/p>\n\n\n\n But this is to overlook the fact that the filmmaker's choice has the very merit of giving importance to acting and being consistent with his craft. Indeed, it's in the very essence of fiction that characters don't match the actors who play them. Lola Pater<\/em> is not a documentary, whether the newspaper likes it or not. Le Monde<\/a>\u00a0<\/em>who seems to be increasingly afflicted with what might be termed \u00abacute realism\u00bb.<\/p>\n\n\n\n Fanny Ardant, with her characteristic manners and elegance, plays Lola, Zino's father, in a very interesting way, since she's free of any desire to be \u00abtrans\u00bb. Her husky, suave voice is a real asset, but for the rest, the French actress is content to play admirably a woman who asserts herself and wants to win back her son's love. Her past as a man is suggested by details such as her clothes, her walk and her make-up.<\/p>\n\n\n\nNadir Mokn\u00e8che's life in the background<\/h3>\n\n\n\n