Samuel (Omar Sy), a beach attendant, is living the good life, between boozy nights out and days spent on a boat. One day, a \u00abone-night stand\u00bb leaves him with a baby who, strangely enough, is a little over ten months old. Samuel learns that he is the father. And, to his utter astonishment, he watches the woman vanish into a taxi, leaving Samuel with her belongings and\u2026 her child. He then flies off to London with the baby and ends up raising him there alongside a producer friend who is portrayed remarkably well. The rest, as the film will reveal, is up to you.<\/p>\n\n\n\n\n\n\n\n
Of course, the story is saccharine. Of course, the viewer isn\u2019t invited to engage in deep reflection. Of course, the production is \u00abcommercial,\u00bb as they say. Yet I find it increasingly difficult to agree with the media, which labels any work deemed popular or successful as bad. What is fundamentally wrong with making a movie that will appeal to a wide audience? Isn\u2019t that, rather, a sign of a certain talent?<\/p>\n\n\n\n