“Jeanne Chardon-Spitzer, a brilliant architect, is entrusted with the rehabilitation of the sumptuous manor of the Daguerres, a strange family at the head of a board game empire. When Caesar, the patriarch, is found murdered in the middle of the Murder Party, Jeanne is drawn into a life-size investigation game to unmask the murderer” is the synopsis of the new film by Nicolas Pleskof.
For the director,the family is an exciting field of fiction for everything related to neurosis!”. It is both the place of love, a cocoon that reassures, and at the same time, a space that combines restrained desires, atrocious and unspoken secrets.
And what is the perfect genre to lock up families and confront them with the worst truths? The whodunit. A cinematographic style which also allows for backdated and/or timeless universes. Here, the script therefore connects “a whole series of events none of which could happen in reality”.
And it is paradoxically the fact of having such an incredible universe which makes the story believable because from the moment you arrive in a mansion that looks like a game board, where the artistic direction is saturated, where the actors play excessively, where the makeup is modeled on the aesthetics of the 50s, in short, where everything is extraordinary, we say to ourselves that everything is possible.