This is an excellent mix between a comedy of misunderstandings and a secret inner drama that seems to unfold and expand life. “The Best Is Yet to Come” is a delightful work in progress in which hilarious moments - thanks mainly to a script highlighted by Fabrice Luchini’s acting performance - are accompanied by an explosive potential that leaves the viewer uncertain, as if one were in the middle of a psychological thriller. The directors and screenwriters Alexandre de La Patellière and Matthieu Delaporte know how to very subtly weave around the suspended drama of existence. They succeed in the small miracle of never letting the story become overwhelming. It is best to leave the audience in the dark about the plot. The pleasant surprise of brilliant moments must not be ruined, as we move to a sense of dismay for the long-awaited inevitable truth. For much of the film’s length, I wondered how the writers would bring it to a conclusion. Lurking in the background was a predictable sentimentality or a possible and daring reversal of a situation, such as to change the film into a comedy, denying its dramatic human predicament. Both risks are brilliantly avoided by the authors who cast a look beyond the existential hurdle re-evaluating the hidden possibilities of human emotions. A small jewel, Le meilleur reste à venir in its original title which is for once respected to the letter in the Italian translation. It must be repeated that the story is embellished by the acting of Fabrice Luchini. In each new film that he appears in, the transalpine actor succeeds in convincingly interpreting the roles he is given. Also positive is Patrick Bruel’s supporting role and the dreamlike presence of Zineb Triki: together they manage to make credible the utopian expectation of human existence.
Italiano
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