Jocelyn (Franck Dubosc), a successful businessman, egomaniac, convinced misogynist and tired of himself, suddenly finds himself newly in love. He has used a little trick to seduce the young woman and win her over: By pretending to be disabled. Everything is going, or rather “rolling” perfectly - until one day his new girlfriend introduces him to her quick-witted sister Florence (Alexandra Lamy). And she has actually been in a wheelchair since a serious car accident...
"Unpleasant moments in the life of a wheelchair user, from stairs to narrow paths to going to the toilet in a restaurant, [director and actor] Dubosc has charged his own character exclusively, while Florence deftly maneuvers around all the difficulties. Thanks to her engaging aplomb and the charm that Alexandra Lamy exudes in her sedentary role, the film never runs the risk of being misunderstood as a joke at the expense of the disabled; instead, it manages to take up the cudgels for breaking down prejudices without becoming overly intrusive in its means. There are also only a few shallow passages in the comedy, which is not necessarily realistic but sympathetically represents its “Vive la différence!” attitude." (Marius Nobach, on: filmdienst.de)
Jocelyn (Franck Dubosc), a successful businessman, egomaniac, convinced misogynist and tired of himself, suddenly finds himself newly in love. He has used a little trick to seduce the young woman and win her over: By pretending to be disabled. Everything is going, or rather “rolling” perfectly - until one day his new girlfriend introduces him to her quick-witted sister Florence (Alexandra Lamy). And she has actually been in a wheelchair since a serious car accident...
"Unpleasant moments in the life of a wheelchair user, from stairs to narrow paths to going to the toilet in a restaurant, [director and actor] Dubosc has charged his own character exclusively, while Florence deftly maneuvers around all the difficulties. Thanks to her engaging aplomb and the charm that Alexandra Lamy exudes in her sedentary role, the film never runs the risk of being misunderstood as a joke at the expense of the disabled; instead, it manages to take up the cudgels for breaking down prejudices without becoming overly intrusive in its means. There are also only a few shallow passages in the comedy, which is not necessarily realistic but sympathetically represents its “Vive la différence!” attitude." (Marius Nobach, on: filmdienst.de)