And we’re off! With one of the most iconic mic drops ever, director Quentin Tarantino (Inglourious Basterds, Reservoir Dogs) opened the 78th edition of the Cannes Film Festival. Until the 24th of May, La Croisette will welcome the most prominent names in the industry, first-time filmmakers and everyone in between. Choosing the opening film for the biggest film festival in the world is undoubtedly a daunting task for General Delegate Thierry Frémaux. Still, this year’s choice is as audacious and bold as possible and mostly pays off. Selecting a French directional debut certainly comes with risks, mainly because this is the first time in the festival’s history that a debut is presented as an opener. However, Amélie Bonnin’s part drama and part musical Leave One Day (Original title: Partir un jour) shows that some risks in life are worth it.
When watching Leave One Day, you certainly don’t feel that you’re viewing the work of a first-time filmmaker. Yes, there certainly is a slight over-the-top and more poppy atmosphere hanging above this movie, which might be a giveaway that this won’t be your typical Cannes film, but that doesn’t take away from the immense achievement of Bonnin and her cast and crew. The feature shines as brightly as its leading lady, Juliette Armanet, who carries the work with moving, authentic, and down-to-earth acting as a cook from a small town in East France who is now about to open her restaurant in Paris. During Bonnin’s initial short film, on which this movie is based, Armanet only had a smaller part, but now she’s the fast-beating heart of the story.
In the powerful screenplay that evokes every human emotion, Armanet makes it look like she has been cooking at the highest level for years, and her acting skills certainly match her character’s cooking ability. A lot of flair, creativity, and depth are running through her multilayered performance (and dishes). Cécile Béguin’s journey to achieve her ultimate culinary dream has ups and downs. Her dad, Gérard (François Rollin), just recently had his third heart attack, and she has recently found out that she’s unfortunately pregnant. During a time in which her focus needs to be in Paris, she’s now forced to return home.
Being surrounded by her family and friends in a time of need might force Cécile to battle with prejudices from her family, society’s views on motherhood, and the “what ifs” of life. Still, for this feature, it’s only a blessing that Armanet is surrounded by so many people, especially all the wonderful French acting talent. While the unrecognizable Bastien Bouillon (The Count of Monte-Cristo) sports a bleachy blond haircut, he delivers a funny, charming and warm performance as Cécile’s biggest supporter and closest friend, Raphaël, and he certainly seems to be having a blast during his dynamic musical numbers. Femme Like U by K. Maro has never sounded or looked this great. Next time we go ice skating, we demand nothing less than what’s happening in that beautiful and tender on-screen moment.
Not every number can reach the same emotional and impactful level. Therefore, the narrative of both the songs and the feature in general weakens throughout its 98-minute runtime. However, occasionally, on-screen magic happens due to the live recording on set and the new arrangements and orchestrations. Bonnin and cinematographer David Cailley (The Animal Kingdom) decided to keep it low-key instead of using bombastic visuals or impressive set pieces. Because of the approach, the audience can connect even more with the characters and their everyday life. While this take on musicals might feel underwhelming, it certainly also brings veracity and uniqueness to this feature.
Seeing Rollin (Plastic Guns) singing Mourir on stage while peeling potatoes? It could have been ridiculous, too much, or completely unnecessary, but it’s heartbreaking, powerful, and right where it should be. It doesn’t only show you that the father-daughter relationship will always be strong – no matter how heated the fights are – but also gives Rollin the chance to inject more emotions and personality into his performance. A performance that is sometimes overshadowed by Dominique Blanc (The Most Precious of Cargoes), who delivers witty, scene-stealing acting as his on-screen headstrong wife, Fanfan, and Cécile’s overprotective mother.
While the movie isn’t perfect due to some narrative glitches, it’s certainly a remarkable debut. Almost every aspect of life and death is being explored with a lot of sensitivity, emotions and a sharp eye for cinematography. It might not have the same grandeur and glamour as La Croisette, but sometimes a heartwarming, cleverly made and feel-good film like Leave One Day is all you need.
Leave One Day held its World Premiere as the Opening Night film of the 2025 Cannes Film Festival. It is out now in French cinemas courtesy of Pathé Films.
Director: Amélie Bonnin
Screenwriters: Amélie Bonnin, Dimitri Lucas
Rated: NR
Runtime: 94m
While the movie isn't perfect due to some narrative glitches, it's certainly a remarkable debut. Almost every aspect of life and death is being explored with a lot of sensitivity, emotions and a sharp eye for cinematography. It might not have the same grandeur and glamour as La Croisette, but sometimes a heartwarming, cleverly made and feel-good film like Leave One Day is all you need.
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GVN Rating
Subtitle translator by day. Film journalist by night.
