In particular, a father-daughter beach trip on Léa’s birthday lends the film its most sincere sequence. The two actors, both delivering conscientious and layered performances, establish remarkable chemistry throughout “Perfumes,” rivaled only by the natural rapport between Montel and the astonishing young actor Rixhon, whose numbered but significant scenes center the narrative with a heartwarming quality. In return, the more impulsive Guillaume alleviates Anne’s social anxieties and improves her business in unexpected ways. But realizing in due course that Guillaume isn’t someone she can freely boss around, Anne softens her demeanor and befriends him, while slowly unlocking his hidden nasal talents. She also disapprovingly discards his beloved cigarettes. Since “Perfumes” is ultimately (and refreshingly) a tale of platonic friendship and not a romance, the early dynamic between Anne and Guillaume resembles a good cop/bad cop routine more than a salty meetcute, and Magne has some fun with the comedic situation.Ī silent mystery at first, Anne keeps making absurd demands from her driver, like asking him to replace the sheets in her luxurious lodging just because she can’t stand the clean-smelling chemical hotels insist on using.
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Opportunity comes knocking when he gets hired as Anne’s private driver while she travels for work, though their first impression of each other could hardly be any more disagreeable.
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This frantic Parisian wants nothing more than some well-earned time with his kid, but the city’s countless transgressions - plus an unsympathetic legal system - complicate his best efforts. For starters, he is crammed into a small studio apartment, a living arrangement that won’t help him win joint custody of his tween daughter Léa (Zélie Rixhon) alongside his ex. A chauffeur-for-hire whose business is in trouble due to all the points deducted from his driver’s license, Guillaume struggles in ways that are worlds apart from Anne’s upper-class reality.
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