Our Fault review – ultra-glossy Spanish step-sibling melodrama is too bland to be annoying

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Third film adapted from the romance novels by Mercedes Ron, originally written in Spanish, feels clunky and cliched This is the third film in a series, after My Fault in 2023 and Your Fault in 2024 , that have been adapted from the Culpable trilogy, romance novels by Mercedes Ron, originally written in Spanish. It’s obviously aimed at a specific market that expects a certain blend of melodrama, softcore sex and lush lifestyle porn, and (more importantly) is invested already in the trilogy’s story. Given those parameters, it probably delivers – although the dialogue, at least judging by the subtitles, is super clunky and cliched. Complete outsiders coming to this cold may be a little baffled by what’s going on, since this concluding instalment makes no effort to fill in any blanks. But even total newbies will get the gist that heroine Noah (Nicole Wallace) still has feelings for her ex Nick (Gabriel Guevara) – who also, somewhat disturbingly, was once her stepbrother, although their ...
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The Second Act review – Quentin Dupieux’s likable meta comedy of actors’ private lives

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Cannes film festival
With help from an A-list cast, Dupieux brings his customary mischief to an amiable tale of imposture and role play

Cannes can always do worse than choose a comedy for its opening gala, and the festival is off to an amiable, entertaining start. Quentin Dupieux brings the wackiness onstream with this cheerfully mischievous, unrepentantly facetious fourth-wall-badgering sketch. It’s a sprightly meta gag, a movie about a movie, or perhaps a movie about a movie about a movie – or perhaps just a movie, full stop, whose point is to claim that reality as we experience it inside and outside the cinema is unitary despite the levels of imposture and role-play we bring to it. It is all just one unbroken skein of experience like the endless dolly-track (the temporary rail that lets the camera move smoothly) that Dupieux finally shows us.

There are plenty of laugh lines, though The Second Act would be a bit thin were it not for the rich, creamy thickness of the alpha-grade French acting talent involved. We see a nervy, unhappy guy called Stéphane (Manuel Guillot) open up his restaurant in the middle of nowhere, quibblingly called The Second Act. Two young men are seen walking towards the restaurant: David (Louis Garrel) and his pal Willy (Raphaël Quenard, from Dupieux’s previous film Yannick). David has a date there with a beautiful woman, whose clinginess and neediness he nonetheless finds a turnoff, so he’s brought Willy along to seduce her and take her off his hands. This woman, Florence (Léa Seydoux) is preparing to meet David, unaware of his plans to palm her off on someone else, and so confident is she that David is the One that she has actually brought her dad with her, Guillaume, played by Vincent Lindon.

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