It's a gripping, completely comprehensible family drama that doesn't offer any real challenges to our usual understanding of contemporary French life. This doesn't necessarily mean that it has less to say about that life than On connait la chanson, only that what it has to say is more compatible with what we already know. And together these two movies suggest that the Bacri-Jaoui team have their fingers on the pulse of what's happening in France.
[Klapisch] does a magnificent job of keeping the film from feeling stagebound despite its single location. But the real star is Jaoui and Bacri’s screenplay, which establishes a few nuggets of insecurity and resentment early on and then gradually escalates them into full-blown comic crises, in the tradition of something like Fawlty Towers.