The actress Maïwenn is back for her seventh directorial depiction. With ADN, she brings together a heterogeneous cast including Fanny Ardant, Louis Garrel and Maïwenn herself. ADN tells of a family reunion at the death of the patriarch of the lineage. The film follows the fate of Neige (Maïwenn), a divorced mother of three. When her grandfather, of Algerian origin, died, she was very affected by this disappearance, and decided to go to meet her own origins.
DNA: a real desire to do well
For her new story, Maïwenn decides to reconnect with her personality. With DNA , she has made a film about identity , heritage, social and cultural belonging. She decides, through this fiction inspired by her own family, to reconnect with her memories, with her ancestors, through a feature film that has the merit of being fundamentally spontaneous. An honest work, through which the filmmaker tries to find herself, to share her hauntings, and her respect for her own ancestors. In ADN, the director proposes some behavioral studies, and tries to decipher the different family relationships, especially in times of mourning. She explores the psyche of her loved ones, and does, in a way, her own psychoanalysis. An identity film thanks to which she offers a relatively endearing introspective, but which quickly finds its limits. 
With this autofiction, she shares a good dose of good feelings, and sends viewers back to their own family experiences. She tries to play with the memories of her audience, with their own joys, sorrows and other regrets. In this way, Maïwenn easily manages to capture the attention and especially the empathy of her audience, who quickly identify with her story. The director transmits a real desire to do well, to lay herself bare, and to tell what is happening in her own head. Unfortunately, this group therapy doesn't always work perfectly.
The naïve vision of a filmmaker who gets lost in her words
DNA runs quickly empty. The fault of a too repetitive story, which finally does not have much to tell. The plot ends up going around in circles, offering elements of grief and hackneyed dramatic springs. The themes of grief, loss, identity crisis are finally treated from a relatively rehashed point of view. Maïwenn does not have much more to contribute to this subject approached from all angles throughout the history of cinema. Sometimes results in a film that suffers from many rhythmic defects, sometimes patho, often "heavy". A work seen under the eyes of a big naive child, who tries to make a film about the search for identity, unfortunately often full of clichés. 
The twists and tribulations of the story are expected, and do not go off the beaten track. The result is sometimes boredom, sometimes sympathy for a human and generous film, but which sometimes gets its feet in the carpet. The emotional springs are often too stretched, too tearful to really be totally right. As for the search for its origins, via numerous biological tests, and research on Algeria, well, less importance is given to these parts. The fault of a scenario too messy, where this new element, this subplot, is brought like a hair on the soup. As an added element, to offer a conclusion globally devoid of impact. A gruff denouement that underlines the structural fragility of the film. And whose moral is finally quite basic. A succinct message that says, basically, that origins are in the heart and mind, much more than in genetics. The result is an often confusing proposition that drastically reduces the scope of DNA.
An impeccable cast
Fortunately, Maïwenn can count on her cast, quite impressive of accuracy. Because if the writing lacks panache, and the realization of personality, the actors do a great job. Fanny Ardant is astonishingly mastery. The actress portrays with great precision a sometimes ambiguous character, a failing mother, a terrible matron, whose contradictory emotions continue to consume her descendants. An astonishing portrait, especially for Fanny Ardant, who finds her quintessence in a final confrontation with the character of Maïwenn. A terrible conversation that brings back all the bitterness of a life too long. 
Finally, to sometimes emerge from a sweet rising lethargy, the public can count on the indispensable presence of Louis Garrel. A comic element of the feature film, it is a perpetual breath of freshness. A character who brings lightness, a little flexibility, and breaks the sometimes morose tone of the subject. A hilarious figure, written with a lot of humor, and vivacity. The dialogues of this protagonist are simply the most interesting of the film, the most verve, the most melodious, and offers amusing verbal jousting. And these humorous traits end up being the primary interest of the disappointing DNA… DNA is not Maïwenn's best proposal. Sometimes pathos and vain, the film gets lost in a rather repetitive plot. The film is nevertheless driven by good intentions, via a speech of openness and saving diversity. Louis Garrel is great. https://youtu.be/mY59W8nBExg
