Olivier, Olivier is at times frustratingly laidback and banal in its approach. Nevertheless, it does accumulate its effectiveness and picks up considerably in the latter third where it becomes a study of the effects that the boys return has on the now grown family. The conclusion Agnieszka Holland brings the story to is very satisfying.
Gregoire Colins cocky, leprechaunish smile makes for an appealing performance. Although one of the strongest things about the film is the moody repression of Marina Golovines performance as the sister the way she eventually gives in and surrenders her distrust is sweet indeed, the most emotionally satisfying part of the film.
The most frustrating aspect of the film is in fact its sole grounds for inclusion as fantasy Marina Golovines brief display of psychokinesis. It seems a pointless inclusion little is made of it, it raises questions that Agnieszka Holland never answers, and the film could have just as easily have served without it.
The Polish born Agnieszka Holland has made a number of films, usually in arthouse release with the likes of To Kill a Priest (1988), Europa, Europa (1990), Total Eclipse (1995) and Copying Beethoven (2006). Hollands other films of genre note are the US-made The Third Miracle (1999), concerning Catholic miracles; Julie Walking Home/The Healer (2002) about a faith healer; and the tv mini-series remake of Rosemarys Baby (2014).
Clip from the film here:-