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Mon Roi

Mon Roi (English: My King) is a 2015 French drama film written and directed by . Starring as and as Georgio, the film explores the complexities of a passionate yet toxic romantic relationship. The story centers on , a recovering from a severe accident in a rehabilitation center, where she reflects on her tumultuous decade-long marriage to the charismatic but self-destructive Georgio. As she navigates and emotional turmoil, flashbacks reveal the highs of their intoxicating love and the lows of betrayal, infidelity, and emotional abuse that ultimately led to their . Running for 130 minutes, the film blends intense drama with raw performances, highlighting themes of to love and the struggle for personal healing. Premiering in competition at the 2015 Cannes Film Festival, Mon Roi earned the Best Actress Award (shared ex aequo with Rooney Mara for Carol) for Bercot's portrayal of Tony. It received eight nominations at the 41st César Awards, including for Best Film, Best Director, and Best Actor, though it did not win in those categories. Produced by companies such as Les Films de Batna and Studiocanal, the film has been praised for its unflinching look at modern relationships and Maïwenn's signature autobiographical style.

Synopsis and Cast

Plot

The film opens in the present day with , a lawyer portrayed by , undergoing intensive physical rehabilitation after suffering a severe in a accident. Dependent on painkillers and medical support, reflects on the emotional roots of her physical , prompting a series of flashbacks that chronicle her ten-year relationship with Georgio. The flashbacks begin with Tony and Georgio meeting at a lively , where the outgoing Georgio, a eight years her senior, catches her eye with his charm and spontaneity; she playfully flicks water at him to initiate conversation, sparking an immediate and intense attraction. Their early romance is passionate and all-consuming, marked by spontaneous adventures, declarations of love, and a rapid progression to , as Tony is drawn to Georgio's vibrant energy despite warnings from her brother Solal about his self-centered tendencies. They soon marry, and Tony gives birth to their son, Simbad, a joyful milestone that temporarily strengthens their bond, though Georgio insists on the unconventional name during a heated argument. As years pass, Georgio's initial allure reveals a manipulative and volatile side; his with his ex-lover becomes evident when he rents a second apartment across the street ostensibly for more space in their relationship, leading to explosive confrontations that expose his emotional and financial recklessness, such as dodging debt collectors. , recognizing her co-dependency, attempts separations multiple times, including after a particularly devastating public argument at a party, but Georgio's charisma repeatedly draws her back, perpetuating a cycle of reconciliation and centered on their shared custody of . The conflicts escalate, with Georgio's jealousy and control isolating Tony from friends and family, culminating in prolonged proceedings where she finally confronts his toxicity in court, asserting her need for independence. Returning to the present, Tony's sessions help her process these memories, leading to a realization of self-worth and emotional liberation from Georgio's lingering influence, even as she acknowledges the enduring complexity of her feelings toward him.

Cast

The principal of Mon Roi features as Tony (full name Marie-Antoinette Jézéquel), the film's protagonist and a navigating profound emotional turmoil after a debilitating injury that forces her to reflect on her past marriage. portrays Georgio Milevski, Tony's charismatic yet increasingly abusive husband whose larger-than-life personality masks manipulative tendencies central to the couple's volatile dynamic. plays Solal, Tony's compassionate brother and eventual source of support amid her recovery and self-reckoning. In supporting roles, appears as Babeth, Solal's girlfriend who contributes to the interpersonal tensions surrounding the central relationship. Patrick Raynal plays Denis Jézéquel, Tony's father, whose presence underscores her familial roots and the generational echoes of relational struggles. portrays Le juge, the presiding judge in the couple's proceedings, representing the legal system's role in their unraveling union. Director drew on autobiographical influences for the casting, selecting performers like —who shares a personal history with her—to evoke real-life inspirations and heighten the film's intimate authenticity.

Production

Development

began developing the for Mon Roi around ten years prior to its completion, drawing on her observations of complex romantic dynamics to craft a centered on a couple's decade-long entanglement marked by passion, infidelity, and separation. Co-written with Etienne Comar, the script incorporates a non-linear structure framed by the protagonist's recovery from a severe injury in a ski accident, allowing for reflections on 's highs and lows while adapting real-life relational tensions into fictional territory. Although secondary reports have linked elements of the story to 's past marriage to real estate developer Jean-Yves Le Fur (2002–2004), the director has explicitly stated that the film is not autobiographical, emphasizing instead a broader exploration of emotional dependency and resilience. For casting, wrote the central role of Tony—a resilient navigating post-divorce turmoil—with in mind, inspired by the actress's grounded, unglamorous portrayal in Maïwenn's earlier Polisse (2011), which allowed Bercot to bring authenticity to scenes involving physical rehabilitation and emotional vulnerability. was Maïwenn's initial and ultimate choice for the charismatic yet destructive Georgio, selected for his innate intensity and ability to convey manipulative charm that mirrored the character's seductive hold over his partner, despite Cassel's initial reservations about the script's sentimental aspects. These decisions shaped the , with the duo's chemistry testing dynamics that informed script revisions. Early funding was secured through co-production partnerships, including support from France 2 Cinéma, which backed the project alongside primary producer Les Productions du Trésor and , facilitating the transition from script finalization to .

Filming

Principal photography for Mon Roi commenced in early March 2014 and spanned 12 weeks, concluding around June of that year. The film was shot predominantly in , capturing urban settings such as apartments, courtrooms, and rehabilitation facilities to reflect the story's contemporary domestic and legal tensions. Additional locations included the coastal town of in for key scenes at a seaside restaurant, and in the southwestern Landes region of for the rehabilitation center sequences and flashback beach moments that evoke the couple's early romance. Cinematographer utilized a freewheeling handheld style and natural lighting to foster an intimate, volatile atmosphere, with frequent close-ups highlighting the leads' raw emotional expressions during heated exchanges. Production challenges included coordinating sequences with young child actors portraying the couple's son , requiring careful scheduling to accommodate their limited hours, as well as facilitating improvisational dialogue between stars and to authentically convey the relationship's passion and toxicity. Maïwenn's directorial approach emphasized spontaneity, drawing from her signature style of blending scripted moments with actor-driven improvisation. The €9.5 million production was overseen by Alain Attal, with key technical crew comprising editor Simon Jacquet, who shaped the nonlinear flashbacks, and Dan Weil, responsible for the lived-in interiors that grounded the emotional narrative.

Release

Premiere

Mon Roi had its world premiere on May 17, 2015, at the 68th , competing in the main competition for the . The screening featured the cast and director on the , marking the film's first public exposure. The film was theatrically released in on October 21, 2015, distributed by . Its international rollout followed, with a UK release on May 27, 2016, handled by , and a U.S. limited theatrical debut on August 12, 2016, by Film Movement. Marketing efforts emphasized the film's intense romantic drama, with trailers showcasing the passionate yet turbulent relationship between the leads. Promotional events at included press conferences and photocalls attended by stars and . Official posters highlighted intimate poses of Bercot and Cassel to evoke the story's emotional core. For home media, the DVD and Blu-ray versions were released in France on February 26, 2016, by . Streaming availability emerged on platforms like in select regions by late 2016.

Box office

Mon Roi achieved its primary commercial success in , where it attracted 745,483 admissions and grossed approximately $5 million. The film opened at number one at the French box office, earning 315,397 admissions during its debut weekend from to 27, 2015. In its first three months of release, it accumulated the majority of its domestic audience, with over 615,000 admissions in the initial three weeks alone. Internationally, the film generated a worldwide gross of around $8 million, predominantly from European markets including . Its U.S. performance was modest, collecting $54,114 in a limited release starting August 12, 2016. While the premiere generated significant buzz, Mon Roi found stronger footing in arthouse circuits rather than mainstream audiences, amid competition from Hollywood blockbusters like Jurassic World and fellow French dramas such as The Measure of a Man. Post-theatrical, Mon Roi has sustained viewership through streaming and video-on-demand platforms, contributing to its cultural longevity without notable re-releases as of 2025.

Reception

Critical response

Mon Roi received generally favorable reviews from critics, with an aggregate approval rating of 72% on based on 74 reviews and an average score of 6.7/10. On , the film holds a score of 68 out of 100 from 18 critics, indicating "generally favorable" reception. Reviewers frequently highlighted the strong performances by leads and as a key strength, praising their ability to convey the raw intensity of a tumultuous relationship. However, common criticisms centered on the film's narrative repetition and occasional excesses in , which some felt undermined its emotional depth. In , where the film premiered, reception was positive overall, with critics appreciating its unflinching portrayal of emotional turmoil and relational dysfunction. Télérama praised the film's emotional intensity and the performances of Bercot and Cassel in depicting a chaotic love affair. lauded the film's instinctive camerawork for granting characters an immediate, potent presence, while noting its honest depiction of a destructive union marked by repeated crises of screams, tears, and slammed doors. Publications like critiqued its stylistic choices, observing that the emphasis on self-staging in intimate confessions sometimes overshadowed traditional , contributing to perceived pacing issues in the sprawling runtime. The French press average on stood at 3.2 out of 5 from 32 reviews, reflecting a solid but not unanimous endorsement. Internationally, responses were mixed, particularly in the U.S. and , where the film's length exceeding two hours drew scrutiny. praised the intimate chemistry between Bercot and Cassel, noting that their scenes felt "spontaneous, unguarded and naked," capturing a paradoxical connection that felt convincingly real despite its volatility. , however, found the erratic structure middling, arguing that while the actors elevated the material, the repetitive depiction of relational ups and downs failed to innovate beyond familiar territory. critics offered a more positive take on the emotional layers; though faulted the "histrionic emotion register" for occasionally burdening the , it acknowledged perceptive insights into abusive dynamics. Overall, international consensus echoed domestic views, lauding the acting duo's raw portrayals while pointing to narrative redundancies as a flaw, with no significant reevaluations emerging after 2016.

Accolades

Mon Roi received significant recognition at major film festivals and awards ceremonies, particularly for its performances and direction. At the , the film was selected for the main competition and nominated for the . won the Award, shared ex aequo with for . The film earned eight nominations at the 41st César Awards in 2016, including Best Film, Best Director for Maïwenn, Best Actress for Emmanuelle Bercot, Best Actor for Vincent Cassel, Best Supporting Actor for Louis Garrel, Best Original Screenplay for Maïwenn and Etienne Benchetrit, Best Editing for Simon Jacquet, and Best Sound for Olivier Mauvezin, Cyril Holtz, and Agnès Tamaes, but did not win any awards. At the 2016 Lumière Awards, Mon Roi was nominated for Best Film, Best Director for Maïwenn, and Best Actress for Emmanuelle Bercot, though the film did not secure any wins. Mon Roi also received three nominations at the 2016 Globes de Cristal Awards for Best Film, Best Actress, and Best Actor, but did not win. The film garnered additional honors at smaller ceremonies, though it saw no major accolades after 2016.

Themes and Style

Central themes

Mon Roi delves into the complexities of toxic relationships, portraying the intoxicating blend of passion and abuse that binds its central couple. The film examines how initial attraction can evolve into co-dependency, where intense emotional highs mask underlying manipulation and harm, reflecting broader patterns observed in dysfunctional partnerships. Critics note that the dynamic between Tony and Georgio illustrates the difficulty of extricating oneself from such bonds, as the allure of shared ecstasy perpetuates cycles of pain. Gender dynamics form a in the narrative, critiquing societal expectations placed on women in romantic contexts within contemporary French cinema. Tony's journey toward , culminating in her pursuit of , underscores a reclamation of against patriarchal norms that prioritize male over female well-being. This portrayal challenges traditional roles by highlighting how women navigate in relationships, often at the expense of their . The motif of is explored through fragmented recollections during Tony's , symbolizing the distorted lens through which past events are revisited for emotional healing. Flashbacks reveal how unresolved pain manifests physically and psychologically, linking relational wounds to bodily recovery. This structure emphasizes trauma's lingering impact, where confronting altered memories becomes a path to . In broader context, Mon Roi has been interpreted by critics as drawing from the genre, blending personal introspection with fictional elements to universalize intimate suffering, similar in style to 's earlier work in Polisse. While Polisse confronts collective pain through institutional lenses like , Mon Roi focuses on individual relational strife. However, Maïwenn has stated that the film is not autobiographical.

Soundtrack and music

The music for Mon Roi was composed by Stephen Warbeck, an Academy Award winner for Best Original Score on Shakespeare in Love (1998). Warbeck, a British composer known for his work on films like Billy Elliot (2000) and Quills (2000), collaborated with director Maïwenn for the second time after Polisse (2011). Warbeck's original score provides emotional underscoring throughout the film, with instrumental cues that heighten the tension in intimate and confrontational scenes. Professional reviews note the score's richness, adding weight to the narrative's exploration of relationship dynamics without dominating the dialogue. The , titled Mon roi (Bande originale du film), was commercially released by L'R Du Trésor on October 21, 2015, comprising 18 tracks of Warbeck's compositions totaling approximately 29 minutes. Representative tracks include "Mon roi theme" (a central evoking the film's titular irony), "Mariage" (accompanying the wedding sequence), and "Discours et les chevaux" (underscoring reflective moments). The was later highlighted in a 2025 re-release announcement, affirming its availability on streaming platforms. The film also features licensed songs integrated into key sequences for stylistic contrast and nostalgia. These include "Easy" by (used in an intimate scene to convey vulnerability), "Black Is the Night" by (adding rhythmic energy), "Same Old Clown" performed by (with music by Marcos J. Garcia, enhancing emotional ), and "Goulou l'mamma" by Cheb Rayan (written by Jalal Hamdaoui, evoking cultural vibrancy in social settings). Sound design incorporates both diegetic and non-diegetic elements, with Warbeck's swells during flashbacks and subtle integration of to amplify the story's claustrophobic intimacy, prioritizing clarity.

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