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Just to Be Sure

Just to Be Sure

Drama · Comedy · 2017

Erwan, a strapping Breton who clears mines for a living, is shaken when he discovers that his father is not his father. Despite his affection for the man who raised him, he quietly sets out to find his biological father, and succeeds in locating Joseph, an endearing old codger he takes a liking to. Just when things look settled, another unexpected “bomb” hits Erwan in the form of Anna, an elusive nymph.

Movie details

Just to Be Sure

2017 Drama · Comedy 1h 40m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

Erwan, a strapping Breton who clears mines for a living, is shaken when he discovers that his father is not his father. Despite his affection for the man who raised him, he quietly sets out to find his biological father, and succeeds in locating Joseph, an endearing old codger he takes a liking to. Just when things look settled, another unexpected “bomb” hits Erwan in the form of Anna, an elusive nymph.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Just to Be Sure?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Carine Tardieu

Written by

Michel Leclerc · Carine Tardieu · Raphaële Moussafir · Baya Kasmi

François Damiens

François Damiens

Erwan Gourmelon

Cécile de France

Cécile de France

Anna

Alice de Lencquesaing

Alice de Lencquesaing

Juliette Gourmelon

André Wilms

André Wilms

Joseph Levkine

Guy Marchand

Guy Marchand

Bastien Gourmelon

Estéban

Estéban

Didier

Perrette Souplex

Perrette Souplex

La réceptionniste de l'hôtel

Court is in session

Put Just to Be Sure on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.