Conclusion: Potiche is a slight film, but it's so well intentioned and it features such luminous performances from Deneuve and Depardieu that it seems downright curmudgeonly to dwell on its faults. It's never laugh out loud hilarious, but Potiche is often gently, sweetly humorous and it manages to deal with a number of fairly serious issues in a non-threatening way. It's just so wonderful to see Deneuve at this stage of her career still out there doing such nice, nuanced work.
Excerpt: François Ozon made his reputation in the late ’90s and early ’00s as one of the most gifted, eclectic, prolific stylists of his French filmmaking generation, but over the past few years, he’s seemed more interested in the “prolific” part of his rep. Potiche (loosely translated as “trophy”) returns Ozon to the colorful, energetic retro-homage of his musical 8 Women , and it’s his most purely enjoyable movie in nearly a decade.
Conclusion: Like a Gallic Nine To Five ('Neuf a Cinq'?), Ozon's comedy is a uniquely French skew on the gender politics of the home and the workplace. It's mostly funny, fast and fondly made although it drags a little towards the end.
Summary: Made in Dagenham rewritten as a French farce, an industralist, feminist reworking of George and Mildred , or a piss-take of big budget TV soaps like Dynasty or Dallas – however you view writer-director Ozon's 70's-set, pitch-black family comedy the result is an eclectic and engaging film that is most certainly never dull.
Excerpt: The 70's are perfectly recreated with all of the colour and fashion to bring on pangs of nostalgia. The social attitudes are missed less. "Potiche" is a light-hearted movie loaded with social comment, looking at the role of women in the workplace, and the incumbent responsibilities of fatherhood. Focused on individual choices and growth, there's no haranguing, and the delivery is affable, warm, and comic. A gold medal for the trophy wife.