The film **Family Resemblances** (original French title: *Un air de famille*), released in **1996**, was a major critical and commercial success in France and was warmly received internationally as a definitive example of modern French "comedy of manners." Directed by Cédric Klapisch and written by the celebrated duo Agnès Jaoui and Jean-Pierre Bacri, the film was praised for its sharp, cynical dialogue and its transition from a hit stage play to the big screen.
### **1. Critical Reception**
At the time of its release, critics lauded the film for its "vicious wit" and psychological depth.
* **The "War of Words":** Many reviewers described the film as a "war of words" where family grievances are aired with surgical precision. *The Austin Chronicle* (at its 1998 US release) noted its "unrelenting ill-humor" and "electric vitriol," while James Berardinelli of *ReelViews* praised it for lacking the "overwrought melodrama" typically found in family dramas, instead offering a "wonderfully rich and intelligent exploration of family dynamics."
* **Adapting Theatre to Film:** A common point of discussion was Klapisch’s handling of the film’s single-location setting (a provincial café). While some critics, like those at *The Austin Chronicle*, felt it "suffered a tad from the staging," most praised Klapisch’s use of **Cinemascope** and naturalistic lighting to avoid the "filmed play" trap. *Time Out* called it a "subtle, breezy comedy of manners" that avoided staginess through "delicately turned characterization."
* **Contrasting Opinions in France:** In its home country, reception was overwhelmingly positive, though some intellectual outlets offered more nuanced takes. Didier Péron, writing for *Libération*, called it Klapisch’s "best film to date" but noted a "desire for boring normality" and "petit-bourgeois morality" simmering beneath its irony.
### **2. Commercial Success**
The film was a significant "sleeper hit" at the French box office.
* **Attendance:** It recorded **2,442,289 entries** in France alone, making it the **10th highest-grossing film of 1996** in the country—an impressive feat for a low-budget, dialogue-heavy comedy competing with Hollywood blockbusters like *Independence Day* and *Mission: Impossible*.
* **European Reach:** Across Europe, the film eventually reached over **2.6 million viewers**, cementing Cédric Klapisch's reputation as a leading voice in the "New French Comedy" movement.
### **3. Awards and Accolades**
The film swept the major awards ceremonies in 1997, particularly for its screenplay and supporting cast.
* **César Awards (1997):** The film won **three Césars**:
* **Best Original Screenplay or Adaptation** (Cédric Klapisch, Agnès Jaoui, and Jean-Pierre Bacri).
* **Best Supporting Actor** (Jean-Pierre Darroussin).
* **Best Supporting Actress** (Catherine Frot).
* It also received nominations for Best Film and Best Director.
* **Lumières Awards (1997):** It won **Best Director** and **Best Screenplay**, awarded by the international press in Paris.
* **International Festivals:** At the **Montreal World Film Festival (1996)**, it won both the **Special Grand Prize of the Jury** and the **Public Prize**, signaling its broad appeal beyond French borders.
### **4. Key Performances Noted by Critics**
Reviewers frequently highlighted the "authenticity" of the ensemble, largely because the entire cast had performed the play together for nine months on stage before filming began.
* **Catherine Frot** was singled out for her "heartbreakingly funny" portrayal of the dim-witted but kind-hearted Yolande.
* **Jean-Pierre Bacri** was praised for his "signature grumpiness" (a persona that would define his career), playing the bitter café owner Henri with a mix of pathos and bile.
* **Jean-Pierre Darroussin** was often cited as the film's "secret weapon" for his deadpan performance as the philosophical waiter, Denis.