Arriving in the village where she is to meet her aristocratic fiancé Hubert (found through a lonely hearts ad), Serena runs into a bachelor farmer named Roland, who falls madly in love with her and starts robbing banks in order to finance the ladylike lifestyle Serena desires. Undaunted by her confession that she has a social disease, he begs her to marry him. She flees on her wedding night and meets Antoine, a lost, angst-ridden writer.
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A fine example of the deadpan comedy genre and the best movie so far from Danièle Dubroux, who found her own, offbeat voice with ‘Borderline’ and ‘Diary of a Seducer’. The film starts in one direction (a young woman moves to the country and gets married), then leaves a bunch of characters there and strikes off in a new direction (she gets taken in by a rather eccentric couple, the husband hides her away with her consent but without his wife’s knowledge), before reaching the crucial point of the story where (almost) everyone meets up. What is most disorienting and captivating about the film is that none of the plots or characters overshadows the others. They are all equally entertaining and interesting. This gives the film a lightness and freedom that the actors take on the fly. They, too, are a motley collection of established professionals, novices and amateurs, but instead of treading on each other’s toes they miraculously harmonize together. Within a scene or two, the young Arab gardener sketches out an explosive character, Cluzet excels in the controlled skid, Riaboukine in extravagance, Julie Depardieu in experimentation... All are fun to watch. This ‘midnight test’ is a breeze from start to finish. (“Aden” magazine, October 28th 1998)