
They’re all nuts. Her parents, who want to send her off to boarding school. Her new teacher, who expects her to read impossibly old books. Her fellow band members, who make her sing ridiculous lyrics and dress her up in a frilly white dress for their first show. Everyone seems to know what she should do and how she should act. And it’s not like 13-year-old Aurore has any fundamental problem with changing herself either. Who would want to be like this: unhappy, ugly and emotionally withdrawn? But the others don’t seem all that much happier to her either. She definitely doesn’t ever want to be as old, rundown and lonely as her mother. And so she prefers to stay the way she is, to observe and make her biting comments on whatever comes her way.
Directed by Émilie Deleuze, Miss Impossible leans on a strong ensemble — Léna Magnien, Patricia Mazuy, Philippe Duquesne — to carry a story that balances spectacle with character.
The film landed with audiences for its craft and performances, and remains one of the most talked-about drama titles of 2017.
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Daniel lives with his grandmother and, after a year of high school, goes to live with his mother in the south of France; a harsher environment which rapidly changes his perception of friends, work, and women.
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